This shot functions as the second half of the intercut between the B-plot figures in the forest and the girl moving deeper into the shrine. The close-up reveals that the individuals outside are holding framed photographs, which directly parallels the wall of photographs the girl passes inside the shrine. The intention is to draw a structural equivalence between the external victims and the internal space, implying that both groups are connected through shared loss or shared targeting by the demon.
Although the raw render shows the images clearly, the painterly post-process will obscure most of the concrete detail. In practice, the viewer won’t be able to identify who the people in the photos are. The point isn’t legibility – it’s recognisability of function. A frame held close to the body, the gesture of carrying something personal, is enough to communicate the idea that these figures are also grounded in family histories, memories, and attachments, just as the shrine walls are.
The intercut reinforces the structural rule of movement: the possessed or corrupted figures always traverse right-to-left, while the girl moves left-to-right. Maintaining this directionality keeps the visual logic intact across A-plot and B-plot. In this section, the external figures hold right-to-left motion while the girl pushes further along the corridor in the opposite direction, which positions her as the active agent moving against the current of possession.
Inside the shrine, her presence triggers small environmental reactions. As she advances, the photograph frames begin to distort, and the candles ignite one by one, creating a controlled escalation. These distortions aren’t simply atmospheric – they serve as the final confirmation that the shrine is a reactive space tied to memory and trauma. It responds to proximity, signalling that she is nearing a narrative threshold. When she reaches the doorway at the far end, the distortion peaks, and the shot transitions cleanly into the next scene.
This additional b-plot insert expands the scale of the external threat by revealing that the procession is not limited to one or two individuals but consists of a growing number of figures moving through the forest. The camera angle, positioned higher and further back, allows their numbers to emerge gradually, reinforcing the idea that the possession phenomenon is widespread rather than isolated. The directional logic remains consistent: the group moves diagonally from top to bottom and right to left, aligning them visually with the “possessed” motion established earlier. Their downward trajectory toward a concentrated red light introduces a clear symbolic layer; the descent into a red-lit area evokes danger, collapse, and an infernal pull. The shot effectively escalates the scope of the b-plot while maintaining its function as a transitional counterpoint to the interior scenes.