Stefan Nadelman cleverly and abstractly projects his father’s experiences working at the NYC’s notorious ‘Terminal Bar’. This is achieved through the effective use of stunning black and white still, portraits, produced by the former bartender (Shelly Nadelman) over the course of 10 years. These analogue based images showcase intimate close ups of the various characters that Shelly had met during his time there; supported by gripping motion graphics, implemented by his son, Stefan.
For the sound, the use of this high paced, almost suave music helps form a rhythmic relationship. This main mood generating example includes this consistent use of motion graphics (potentially and entirely produced via editing software) moving in correlation with each short term beat. The approach provides an intense, moody atmosphere to the film; whilst also reflecting Shelly’s overlapping commentary depicting the dark backstories of certain characters he met at his former job.
For the editing, Stefan also presents these portraits in an array of different thumbnail formats, including these grid layouts, in which separate and scroll across the screen. These graphical motions act as relationships that move during more gradual sections of the overlapping music; helping to abstractly symbolise the passing of these characters and time for Shelly at the bar.
The use of colour is another powerful element in this film, in which the primary sources (the portraits and newspaper articles) are both shown in black and white filter alongside coloured footage of Shelly commentating. These opposing stereotypes enable Stefan to use the dark option to symbolise the past and the interview clips as a way of presenting the present time.