On February 29, 2016, the innovative production studio Media Storm published a short documentary showing drought devastation in a farming community in rural California. Andrew Michael Ellis, director of the short film Life After Water, and his team dedicated their last day of filming to capture drone footage of the central valley. Their use of long tracking shots and aerial drone footage filmed through a narrow frame heightens the cinematic feel of how climate change can make or break an entire farm and the families that inhabit them.
The most notable stylistic choice that increases the impact of Life After Water is the constant moving camera work. At (0:27), a high frame rate camera pushes-in to introduce the workers of Jesus Ramos’ farm in Terra Bella, California. These slow push-in shots fly forward––giving viewers a chance to look straight into the eyes of those affected by the drought. “Water disappears, the labor disappears,” Ramos says. “Water disappears, my farming disappears.” His voice––in a way––narrates the story, walking viewers through acres of farmland.
The film then cuts to a series of shots––from all different angles––pushing-in toward the same direction (0:41). There is a consistency that ties the shots together. An eye-level POV shot shows viewers devastation caused by the drought and at (0:47), an aerial shot depicts the acres of dried-up orchards.
As Bramos talks about his journey to “el norte” (the north) from Mexico, a fly-over shot of desert land creates a sense of reveal depicting acres and acres of lush square patches of American farmland (1:23). This long horizontal shot encompasses the vast California valley and exudes sentiments of hope and a new beginning for Bramos and his family.
At (2:04), the camera continues to be in motion; however, in this wide cinematic shot, the camera moves backwards even though the subject is coming toward us. For a few seconds, the camera tracks with Bramos riding his tractor and then the story returns to a series of aerial fly-over shots to emphasize the 140 acres of farmland Bramos maintains (2:13).
A dolly shot of the orchard at (2:52) cross-fades into another shot moving in the same direction. The producers and editors have implemented several rising shots and drone work to help viewers comprehend the capacity of land that is at stake. At (3:11), one of these wide rising shots depicts a bulldozer taking out the farm’s trees. This scene conveys economic devastation as a result of lack of water.
The editors stylistically shift gears at (5:14): instead of swooping drone shots, they provide a series of close-ups that fill the frame––showing detail in the drought devastation. Cobwebs flicker in the sun and curled up yellow leaves dangle from their branches.
A long shot slowly tilts up to reveal what’s left of the land after the bulldozing (5:46). After interviewing experts on the lack of water allocation, an overhead drone shot begins close-up and quickly pulls-out to uncover the acres of ruined land (6:03).
One of the last scenes in Life After Water amplifies the cinematic value of the non-linear documentary. Impressive handheld camera work captures an action/reaction shot that follows our subject in real time as he witnesses his actual trees being destroyed (7:27).
