FORMAT: 21:9 anamorphic widescreen, 30 seconds, every composition designed for the wide frame. · GENRE AND TONE: a scene from OBĀCHAN, a Japanese live-action short film selected at Short Shorts Tokyo: deadpan, tender and funny, about a tiny grandmother who raised her enormous grandson and dresses him for his first sumo bout. NARRATIVE AND SUBTEXT (the whole story must read from the images alone): KENTA, 19, a huge young sumo wrestler, wakes up nervous on the day of his first official bout; his tiny GRANDMOTHER, 85, who has raised him alone, is already up. She cooks him an enormous breakfast, and he eats it all. She makes him do his leg-raising exercises in the tiny kitchen: each time his foot stamps down, all the cups jump. At the stadium, in the narrow dressing room, she stands on a wooden step to tie his white belt herself, pulling with all her small weight; he holds his breath. He walks out to the ring; she sits alone in the stands, very small, holding his towel. THE BOUT: he pushes his opponent out in one second. THE END: in the corridor afterwards, he lifts his tiny grandmother and sets her on his shoulder; she sits there very seriously, holding on to his hair knot. REFERENCE: Source A is the film poster: it defines ONLY the look and the two characters: a flat salmon-pink backdrop, soft side light, the tiny grandmother with white hair in a grey kimono, and KENTA, a huge young sumo wrestler with a black topknot and a white belt. IGNORE ALL THE TEXT AND TYPOGRAPHY OF THE POSTER: there is no text in this video. It does NOT define the framing: this film is in 21:9. HARD RULES, for every shot: 0. DEPTH: every shot has three layers: an object close to the lens, soft and out of focus; the action in the middle; a rich background; never a flat frame with nothing between the lens and the characters. 1. NO TEXT, NO LETTERS, NO LOGOS anywhere, no writing on walls or banners. 2. PALETTE exactly like the poster: a flat saturated salmon pink (#E9B3A8) fills most of every frame (the flat walls, the dressing room, the stands), her grey kimono, his skin, one white for the belt; real 35mm film texture and grain, true colours, never brown, never yellow cast. 3. LIGHT: soft but directional side light like an Irving Penn portrait, crisp soft shadows, never flat. 4. KENTA is three times her size; she reaches his chest only when she stands on a step. 5. Only two sumo wrestlers in the bout; the crowd is soft and far. SHOT 1 (0.0 - 2.0 s): EXTREME CLOSE-UP, macro: FOREGROUND (soft, close to the lens): a steaming rice bowl. a huge eye opens in the morning light, a strand of black hair across it. CAMERA: slow push-in. · SHOT 2 (2.0 - 4.0 s): TOP SHOT straight down on a tiny salmon-pink kitchen: FOREGROUND (soft, close to the lens): a paper lantern. the tiny grandmother at the stove fills a huge bowl; Kenta fills half the room at the small table. CAMERA: slow rotation above. · SHOT 3 (4.0 - 5.5 s): MACRO: FOREGROUND (soft, close to the lens): the edge of the rice pot. grains of rice tumble from a wooden spoon into an enormous bowl. CAMERA: slow tilt down with them. · SHOT 4 (5.5 - 7.0 s): CLOSE-UP, his face cut by the top edge, only his cheeks and mouth: FOREGROUND (soft, close to the lens): a teapot. he eats, very seriously. CAMERA: slow lateral glide. · SHOT 5 (7.0 - 9.0 s): WIDE, very low at floor level, 14 mm: FOREGROUND (soft, close to the lens): a stack of cups. Kenta raises one huge leg high in the tiny kitchen and stamps it down; on the table all the cups jump; the grandmother claps once. CAMERA: slow push-in at floor level. · SHOT 6 (9.0 - 10.5 s): INSERT: FOREGROUND (soft, close to the lens): a chopstick holder. cups and chopsticks jumping on the table as the floor shakes. CAMERA: slow lateral glide. · SHOT 7 (10.5 - 12.5 s): EXTREME WIDE from very far down a long salmon-pink corridor of the stadium: FOREGROUND (soft, close to the lens): a corridor pillar. the huge young man and the tiny old woman walk side by side away from us. CAMERA: slow following dolly. · SHOT 8 (12.5 - 14.5 s): MEDIUM in the narrow pink dressing room: FOREGROUND (soft, close to the lens): a hanging white towel. she climbs onto a small wooden step and wraps the long white belt around his belly, pulling with her whole body; he holds his breath. CAMERA: slow arc around them. · SHOT 9 (14.5 - 15.5 s): MACRO: FOREGROUND (soft, close to the lens): a wooden step. her small wrinkled hands pull the knot of the white belt tight. CAMERA: slow push-in. · SHOT 10 (15.5 - 17.0 s): CLOSE-UP of Kenta from below, his face high and serious, her white hair at the bottom edge. CAMERA: FOREGROUND (soft, close to the lens): a curtain of the dressing room. slow tilt up. · SHOT 11 (17.0 - 19.0 s): EXTREME WIDE TOP SHOT straight down on the round clay sumo ring: FOREGROUND (soft, close to the lens): the purple tassel of the ring roof. two wrestlers crouch face to face, tiny in the middle of the frame. CAMERA: slow rotation. · SHOT 12 (19.0 - 20.5 s): WIDE, long lens: FOREGROUND (soft, close to the lens): a spectator's shoulder. in the soft stands, one tiny old woman sits alone holding a folded towel on her lap, perfectly upright. CAMERA: slow push-in. · SHOT 13 (20.5 - 22.5 s): MEDIUM, low at the edge of the ring: FOREGROUND (soft, close to the lens): the straw edge of the ring. the two wrestlers clash; in one second Kenta pushes the other out over the straw edge. CAMERA: fast lateral tracking with the push. · SHOT 14 (22.5 - 24.0 s): MACRO of the grandmother's hands on the towel: FOREGROUND (soft, close to the lens): the folded towel. they squeeze it once. CAMERA: slow tilt up to her face, which does not move at all. · SHOT 15 (24.0 - 26.5 s): MEDIUM in the pink corridor: FOREGROUND (soft, close to the lens): a corridor doorframe. Kenta lifts his grandmother and sets her on his shoulder; she sits very seriously, holding his topknot. CAMERA: slow rise. · SHOT 16 (26.5 - 30.0 s): EXTREME WIDE from the end of the long pink corridor: FOREGROUND (soft, close to the lens): a hanging banner rope. the huge young man walks away with the tiny old woman sitting on his shoulder. CAMERA: very slow following dolly. · CINEMATOGRAPHY RULES, for every shot: an auteur's original visual language, every frame a beautiful, surprising composition: NEVER a frontal postcard, the subject off-centre or cut by the edge of the frame; EVERY shot has real depth: an out-of-focus foreground element filling 20-40 % of the frame, the action in the middle ground and a rich background; great variety of angles from shot to shot, as written in each shot: top shots straight down, worm's-eye nadir shots from the ground looking up, high angles, low angles, extreme wide angles with a 14 mm lens close to the ground with strong perspective, long lenses compressing the background, inserts and big close-ups; never two consecutive shots of the same size or the same height. FRAMING VARIETY: the framings change radically from shot to shot: real MACRO shots (an eye, a fingertip, a crumb, a thread filling the frame), extreme wides where the character is tiny in a huge field of colour, strange off-balance compositions with the subject cut by the edge or placed in a corner, very low at ground level, straight down from above, from behind, from far away through the space; each framing feels unexpected and beautiful. CAMERA MOVEMENT RULE: EVERY SHOT HAS ITS OWN CAMERA MOVEMENT, written in the shot, already in motion from the first frame, smooth and motivated by the character; the move is defined by what enters or leaves the frame; never a zoom; hard cuts on movement. STORY RULE: every action is big, clear and readable at first sight; the whole story must be understood from the images alone, with no words and no text. ACTING RULES: real, specific, imperfect human behaviour, never posed: each character wants something and something stands in the way; show it with small physical behaviour: breathing, a hesitation, a gesture started and abandoned, eyes that look and look away; nobody holds a pose more than half a second; nobody looks into the lens; every face is natural and real, with real skin texture, resembling no actor; faces are either close enough to read or seen from behind or in silhouette, never small deformed faces in the background. · AUDIO: ABSOLUTELY NO MUSIC, NO SCORE, NO SINGING, NO VOICES, NO DIALOGUE. Only real sounds of the place, described in each film. · Sounds: a morning kitchen, rice pouring, a huge foot stamping and cups rattling, footsteps in a corridor, a belt pulled tight, a distant crowd, the slap of two bodies clashing, a short roar of the crowd. · DO NOT: no text, no banners, no music, no other grandmother, no injury, no overcast, no brown cast.