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Guillermo del Toro’s most recent film The Shape of Water (2017) ends with a sequence
presenting the leading role’s peculiar transformation that not only saves her life but allows her
to breathe underneath the water and to be with the amphibious manlike creature she loves. By
showing the exact instant where the character’s ancient neck scars open into gills with a
thought-provoking low angle medium close-up in a floating environment, the film denotes a
resonance between physical metamorphosis and a change of perspective. In addition, the
sequence’s final scene is an extreme long shot of the story’s two main characters merged in a
hug and surrounded by an aquatic empty landscape. Thus suggesting that the shift process’s
culmination is not merely a matter of altered body parts but also of changing contexts,
environments and ways to be, perceive and understand reality.
However, this example is not the only one of how motion pictures have been
approaching and displaying different transformation processes and their multiple implications.
Almost a decade before The Shape of Water, the anime feature films Studio Ghibli released
Hayao Miyazaki’s Ponyo on the Cliff by the Sea (2008). The story of a red goldfish princess
who wishes to become a human after knowing a five-year-old boy. The film focuses on
Ponyo’s becoming-human journey, showing how it develops alongside with her motivations
and the ramifications of such a desire. The moment where Ponyo’s will of change provides her
with legs and hands, disrupting her restraining water-bubble borders and altering nature’s
balance, establishes a key progression to analyze and experience the complex shifting
relationship between a subject and its milieu.
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Cinema Desterritorialização