When I think of connections between the two short films, the most striking one to me is the tension that is sustained throughout both films as a result of the fast movement of the camera and the concealing of information from the viewer. In ‘Sundays’, we learn about the central character’ fixation on the idea that the universe he lives in isn’t real and his effort to try and make sense of his world whereas in ‘The Kid’, we learn that a young child is being pursued as he seemingly possesses supernatural abilities. The initial buildup in both films involves exposition that is prolonged and sets up both films, with Sundays depicting an apocalyptic setting of planets colliding in space. This almost ‘visual spectacle’ sets up the audience to expect a tense film, and this is similar to ‘The Kid’ as we see a woman running away from men who are clearly chasing them down.

In addition, I find that both films employ a wide range of camera techniques in order to capture a range of emotions, including tracking shots, establishing shots, and multiple close up shots. This is clearly evident in ‘The Kid’ when the director chooses to show a close up of the Kid harnessing his power, and then switches to an MCU shot to show the equivalent reaction of the man who is trying to abduct him. This type of camera work is clearly evident in ‘Sundays’ when the director chooses to show the main character grappling with the bigger ideas of the mysteries of life, and it is particularly powerful in the sequence between the man and his partner or lover.