When the girl and boy are arguing on the road-side - to raise the stakes as well as making it more authentic, the boyfriend can punch her and then escape as this opens no time for struggle when he leaves, therefore there's no time for second thoughts. This also allows not much time being wasted of her becoming hopeless and she can become concussed and lay down vulnerable and weak. This explains more why she becomes restless and sleepy etc. rather than her getting bored as it becomes more authentic this way. When the man watches the girl, he doesn't flinch to look away or anything when she gets hit by the man and continues watching. This tells the audience that from the start he already has some sort of pre-meditated plans and has maybe been in a similar situation before, this is why he isn't phased by it. Also, because he has seen the assault he has a decision to help or not and this gives him a dominating stance already over the girl even before they've met and therefore, whatever he does is always going to look over-powering because of the assault.
In the interior of the car, when he is watching her and the boyfriend fight, he can have Polaroids scattered around the dash board and seats of his car of pictures of houses and the Polaroids. This adds more mise-en-scene to a plain, small-spaced car as I won't have access in my story to any bigger room-type spaces to work with in terms of representing more about the story. This also gives the audience a first impression of two different angles; he could either be a photographer or a creep. Therefore from the beginning, his characteristics and intentions are being challenged and defining this can go two ways; if he is an introvert, this can often be linked with artists and is why he can come off as so illiterate and creepy as he could be socially challenged and she is creeped out (as well as the audience) by this and mistakes his good intentions for bad intentions of harming her or imprisoning her.
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