While editing, to take breaks from the mind-numbing perfectionist repetition of the more menial bits, we discussed possible titles for our film. Below, we've summarised a few of a the suggestions with their pros and cons.
Stockholm Syndrome
+ Relates to the content, demonstrates the emotional bond that is the centrepoint for the film.
+ Psychological term represents how the kidnapper's malevolence evolves into a relationship, and reflects the genre.
- Confusing for viewers, combining a Swedish town for the title with a Polish family in an English home.
1992
+ The ambiguity can be used to generate marketing hype.
- The year is somewhat irrelevant for viewers in regards to the content and narrative of the film.
- 'Year' titles are cliched unless the year itself is significant to the narrative (see 1984, 2012, 1966).
Anywhere
+ Makes use of dialogue in the film, which could be used as a motif.
- The subtext doesn't relate to the narrative, and doesn't foreshadow the darker nature of the film.
Julek
+ Demonstrates that this film is character-based rather than a visual spectacle.
- 'Name-in-Title' films are generic conventions of comedies, such as "Borat", "Shrek" or "Austin Powers".
Trapped
+ Blunt and emotive
- Signifies a thriller or horror movie, rather than a psychological drama.
Pieces
+ Can represent how the child's life has been disrupted.
- Slightly ambiguous, dull and unemotive.
Broken Dreams
+ Uses the key narrative theme.
- 'Emo'; depressing and pessimistic - doesn't offer hope for the viewer.
(See title post for our last minute deliberations and final decision.)
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