Single White

Female
Having recently split from fianc Sam Rawson (Steven Weber), Allison
Jones (Bridget Fonda) welcomes new roommate Hedra Carlson (Jennifer
Jason Leigh). The young women quickly form a bond, but as Allison
starts to rethink her engagement, Hedra grows jealous and hostile. As
Allison learns new details about her roommate's life, Hedra gets violent
in her efforts to get Sam out of the picture. With Hedra turning more
menacing by the minute, Allison finally understands what she's up
against.

(synopsis from google)

Opening Sequence Mise-en-scene
The director, Barbet Schroeder, begins the screenplay with the two girls
messing around with what appears like their mothers pink lipstick. The
VHS style format is not just indicative of the time that it was filmed, but
it is also reminiscent of a home video which suggests the close
relationship of the two twin young girls. Which is reinforced by the
matching outfits. Furthermore, the colour of the dresses is significant as
the colour white connotes a sense of innocence which is often
associated with children. Hence why Schroeder continues the theme of
pink and white on the walls. The high-key lighting accompanying the
video imitates a heaven-like glow which accentuates the theme of
innocence.
Schroeder also uses a typical thriller convention of a mirror in order to
evoke a sense of mystery - which is a key convention of the thriller
genre. It is also fitting with the idiom smoke and mirrors which
connotes deception which further reinforces the theme of mystery.
Therefore, when the twins are pictured in the mirror it is possible that
perhaps following examples of other films and thrillers which use a
mirror when presenting the antagonist to the audience, that Schroeder
is suggesting that one of the twins, if not both, has a darker side.
Opening Sequence: Typography
The typography of the thrillers title Single White Female is themed
using the typical binary opposition of black and white. Not only does
this theme make the font prominent, the colours represent two
contrasting themes. The colour black is associated with power, fear,
mystery, strength, authority, elegance, formality, death, evil, and
aggression, authority, rebellion, and sophistication. Whereas the colour
white is associated with with light, goodness, innocence, purity, and
virginity.

It is considerably significant that the colour black is within the block of

white as this is suggestive of a hidden darkness. Which is serves as
evidence to the hypothesis of the mirrors being suggestive of a hidden
darker side.
Camera
The close up the girls, presumably twins,
decept the

audience by creating a
joyous tone - which

contrasts heavily to the

thriller genres typical

atmosphere. However, by
only revealing half of one of the twins face Schroeder is evoking
mystery from the audience which does comply with the typical thriller
conventions.
 The mid-shot presented of one of the twins
applying

make-up on the other twin.

However, Schroeder

introduces the idea that, the

supposed twin is not actually there. Hence why the scene is depicted
from the perspective of a mirror. This evokes disorientation from the
audience which adheres to the thriller conventions of mystery and
suspense. Furthermore, this effect is suggestive of the twins later death
which provokes the mental instability of the other twin - which
motivates her psychopathic actions on the latter half of the film.
 After the continuous panning
which aided the sense of

disorientation in order to
evoke mystery, a close-up of

the twins is depicted. The

similitude of the twin girls reinforces the skepticism around whether or
not these are the twins or just a mirror reflection of the antagonist.
However, the strength of their relationship is depicted through their
content smiles.
 A sudden shift in the films tone is portrayed
through

the sudden black-out. The

colour black represents a

feeling of power, death, evil,

and mystery. The transition sets the tone for the film and foreshadows
the prevailing darkness and evokes a sense of suspense and tension.
 The eerie POV pan from outside an apartment
implies a

sadistic tone and creates the

feeling that somebody is

Someone is watching someone - almost a stalker. This alarms the

audience. A sense of mystery is further introduced as both the resident
and the stalker are concealed from the audience, which emphasises
the feeling of suspense provoked from the black-out from 0.47.
Sound
Schroeder incorporates both diegetic and non-diegetic sound in order to
set the tone of his thriller.

At the immediate start he encompasses diegetic giggling from the two

young girls, to accompany the black and white titling in order to
provoke a sinister filled suspension. The diegetic sound is also
accompanied by a sharp high-pitched whistle which creates a
threateningly inauspicious atmosphere. Furthermore, the whistle is also
reminiscent of a train screeching which despite not being contextually
related, is suggestive of the twins death.
Sound
The non-diegetic soundtrack begins with a mild tempo which along with
gradual crescendos effects the audience profoundly. A shift in tone is
further incorporated, as the playing violins, double bass and cello
become intensified. Along with the orchestral shift in tone, the giggling
of the girls also shifts into a laughter of many children which
accentuates the sinister atmosphere. However, the plucking of the harp
contrasts heavily with the eerie laughter and the harp evokes a
divine/dream-like atmosphere. Thus disorienting the audience which
stimulates mystery - a key convention of a thriller.
Editing
Similar to the tempo of the non-diegetic soundtrack, Schroeder edits his
sequence by using a slow pace. This creates a relaxing atmosphere as
the beginning focuses on what is presented as happy childhood.
Furthermore, the long takes is suggestive of their never-ending delight -
which is ironic as one of the twins dies.

The enigma generated from the eerie laughter and harp plucks is
continued after the blackout before the films title is presented. The
blackout lasts a total of eleven seconds which leaves the audience on
tenterhooks as they are held in suspense.