Critical analysis of a short film

In this analysis, I will be talking about the narrative and editing qualities of the short film
‘The Long Goodbye’ (2020) by Aneil Karia. It was co-written by Aneil Karia and Riz Ahmed
who plays our protagonist Riz. Briefly speaking, it is about a British Asian family who are
preparing for wedding in their suburban home until it goes downhill. It delves into
complexities of cultural displacement, family dynamics, and the struggles of assimilation
that many Southeast Asians feels. The title, ‘The Long Goodbye,’ serves as a metaphor for
the emotional distance that separates Riz and his family from the members of society.

The film begins quite abruptly with Naz talking along as he teaches Riz a dance in the
family’s living room. I quite enjoy the way in which it starts as it takes into the family’s lives.
By starting so abruptly it makes the viewer feel as though they are walking straight into the
home. This is something that happens quite a lot throughout the film. I can only think that
the editor chose some of these aspects to bring the film to life. The shots used in this
scene are quite quick and help the narrative of the story. Although it forces the viewer to be
paying much closer attention, it helps them understand the dynamic of the family, which
helps them with the narrative. Throughout the film, we focus on Riz with his actions and the
way in which he reacts.

The narrative structure of this film could be explained in the simple three act structure with
the setup, confrontation, and resolution. During the first scene, we know that the father is
trying to watch the news but is unable to as Riz is in the way. However, through a small
number of clips we can see briefly what is showing on the screen. I can see that there is a
protest happening with people holding up the English flags. Where a majority of the crowd
is people of English descent with the police standing by, then followed by a video of a
mosque on fire. These small clips in a way foreshadow the dark future that awaits the
family when they in turn get forced out of their homes, their ‘safe space.’ The first few
scenes can be seen as the setup. The film shows us the main characters living their normal
yet slightly chaotic lives. We see the slight chaos with the use of the editing. By using a
series of short shots put together to make a sequence, it makes the viewer feel as though
that everything is happening at a faster pace than it actually is. I think that this was done to
imitate how it feels for the characters in the film. As well as the sequencing, there is also
the use of sound. Throughout the entirety of the film, you can always hear some sort of
sound. Whether it is the other characters’ voices or the music that has been added to the
soundscape of the environment. This allows for the viewers to really envision themselves
in the film to get a sense of the chaotic environment that they are in. This helps the viewer
really try and understand what they are going through.
Moving on more towards the middle of the film, we have the confrontation. At 4:36 (Riz
Ahmed, 2020), Riz hears loud shouting coming from outside the house and as he gets to
the window, he can see the other families being dragged out of their houses. At this point, it
becomes clear to Riz what he must do to keep his family safe however, that does not work
out so well when the people come into the house and attack them and drag them out. This
is a breaking point for the family as they realise what is about to become of them. Whilst
outside we see Naz being taken away which further angers Riz to the point where he risks
his life to try and save him, but he gets shot down. When he is on the floor, he sees one of
the men talking to two police officers and hears them shoot the other people who were
kneeling outside.

From the opening frames, the editing sets the tone for the film, establishing an uplifting
atmosphere that mirrors the protagonist’s relationship with his family. Quick cuts between
scenes create a sense of disorientation, reflecting the fragmented nature between the
protagonist’s family and society. This fragmented editing style not only immerses the
audience in the protagonist's psyche but also lays the groundwork for the exploration of
cultural identity. The editing rhythm of ‘The Long Goodbye’ is a symphony of emotion,
ebbing and flowing with the protagonist’s journey. During moments of introspection or
emotional intensity, the editing slows down, allowing the audience to linger on the
protagonists’ expressions and internal struggles. This can be seen near the end of the film
at 7:20 (Riz Ahmed, 2020) after the protagonist gets shot. We see much longer clips tan
compared to the beginning. This could be because he realises now what the world has
come to and how he now has to face these struggles. Conversely, during moments of
action or confrontation, the editing quickens its pace, heightening the tension and urgency
of the scene. This can be seen from 5:04 to 7:10 (Riz Ahmed, 2020). This is when the
attackers enter the family house and begin to round them all up and drag them out of their
home. We can see one of the characters calling out for help towards the neighbours who
are watching from their windows. This further adds tension, and it stretches the bridge
between the two races. This rhythmic interplay between editing speed and emotional
beats enhances the film’s dramatic impact, keeping viewers engaged from start to finish.
In ‘The Long Goodbye,’ the editing is not merely a technical aspect of filmmaking but a vital
storytelling tool that enhances the narrative’s emotional resonance and thematic
complexity. Through its skilful manipulation of time, rhythm, and symbolism, the editing
invite viewers on a journey of introspection and empathy, prompting them to reflect on
their own experiences of identity and belonging, as the film unfolds, it becomes clear that
every edit is a deliberate choice, carefully crafted to deepen our understanding of the
human condition and the universal longing for connection.
The film ends with a monologue from the protagonist, Riz. This can be seen as the
resolution. He talks about the way in which people treat southeast Asians on a daily basis.
The use of his monologue was imperative towards the narrative as this is his chance to
speak out to the actual viewers, in hopes that they realise what is going on the world and
the fact that people need to change their ways. He inexplicitly says that the people who
forced them out of their home want them to go back to where they came from to which he
retaliates by saying “if you want me back to where I’m from, then bruv I need a map” at
9:53 (Riz Ahmed, 2020). He is stating that he does not know where he is from, as do most
people who live in the county. This is important for the resolution as he is speaking about
things that most minorities go through on a daily basis. In an article from Wonderwhy is
written “There are stereotypes everywhere about how Southeast Asians are portrayed. I am
assuming Hollywood does not do its best in changing the perspective. However, I am not
saying there is not a ring of truth to it, but to be chalked up to such simplicity is wicked”
(Wonderwhy, 2023). Here, the writer is talking about how the film industry (mainly
Hollywood) portray Southeast Asians. This helps me to understand the narrative of this
short film. Riz Ahmed wants the way his culture and heritage are portrayed in the media to
change. By using real life examples of they are treated, it in turn opens the eyes of the
viewers to the hatred that they are experiencing. By the end of the film, Riz is left all alone
with no one to help him. I believe that in a way this is not the end of the resolution but is left
up for the viewers to resolve.

References:

Riz Ahmed (2020). Riz Ahmed – The Long Goodbye. [Online Video]. Available at:
https://www.youtube.com/watch?v=Lzz50xENH4g (Accessed: 2nd April 2024)

Wonderwhy (2023) Let’s talk about Southeast Asia Representation in Hollywood. Available
at: https://www.wonderwhysea.com/detail/lets-talk-about-southeast-asia-
representation-in-hollywood (Accessed: 4th April 2024)