The dominant in this frame is the character of Cesar, who is sitting down on the bench. His central placement, as well the glare from his white hair, makes him the first thing that the eye settles on. The subsidiary is the character of Malik, who is standing. His clothing contrasts starkly with the grey and white background and his standing gives him an air of authority. The lighting is ambient, coming from almost directly above. This means that there are no shadows, making us focus more on the immediate persons of the characters as well as more clearly defining the distance between them. The character proxemics are personal, either character could reach out and almost touch the other, while the camera proxemic is public. This makes us feel like an observer of the two characters but not a confidant. The scene, in the context of the film, is a perfect example of the relationship between the two characters. Malik towers over the seated Cesar, seeming to give him more visual weight. Yet, Cesar is central to the frame and placed more left than Malik. This gives both characters an equal amount of power in the scene and it is their struggle to control each other that is the main focus of the film. Also reflexive of the movie is the direction that each character focuses; Cesar watches the ground around him, trying to control the area he resides in, while Malik watches Cesar waiting for his chance to rise.
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