overall there's a consistency thing going on. some shots are very well framed and lit, others are more a bit more raw. by which I mean more "documentary," more casual framing, some handheld. I personally like that you alternate between the two.
a little note that goes a long way: the first shot of the ascetic's face at :43 doesn't make him look like an ascetic, it looks like a guy with some grey on his face. later shots involve more makeup, but the introductory close-up doesn't quite sell as a guy who's been living this way for a long time, looks like a guy who's just trying to look like he has. which might be the point!
but the story suggests a man that's genuinely striving for some sort of spiritual beyond, rejecting the barn and it's inviting dust for the field, the rope, the robes and the masks…. so that first shot of his face, beat to hell, is pretty key.
four years ago shooting HD I'd say "man the make up artist did a shitty job this looks lame" and shake my head. these days in 4K I see the make up artist as important as my gaffer, keeping talent and story tight and good looking, I try to make a relationship happen where she (usually a she!) sees the monitor and works together during lighting to make it perfect.
nice that the dolly where she gets up is continuous from close up to wide.
great reveal of the hut moving, right on the crash in the song. great shot of the rope, and the son moving into the roses afterwards. the old man looking about with the dust falling is also experly framed.
the first shot of roses falling felt a little too staged, but from personal experience I know how hard it is to make those damn things fall in a way that doesn't look staged. the final wide, on the other hand, was awesome, felt like the perfect balance between cinematic and believable.
overall images that are going to haunt me. nicely done. I would say slightly tighter framing sometimes wouldn't hurt, but that's purely a style thing, you've got a great thing going.
