In the film Lantana, Ray Lawrence constructs internal and external conflicts between characters using various cinematic techniques; in turn, such conflict serves as a catalyst for many characters to reach a turning point for change. A serious conflict is created between the relationships (Leon and Sonja, Nik and Paula, as well as Valerie and John) which in turn has repercussions in the lives of those around these coupled characters. Leon and Sonja experience disloyalty and controversy which affects Leon's professional career; Nik and Paula, in contrast, have a trust in their relationship that triggers a change in surrounding relationships when they are rebellious in the face of adversity. Ultimately, John chooses to turn his back on Valerie with disastrous consequences, in a decision that finally resolves his internalized problems. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an original essayLeon is presented as a seriously troubled man who insists on ruining his life: he cheats on his wife, works too much, and starts a domestic conflict with his family. However, in the climax of the conflict with Leon and his wife, Leon is forced to change his ways. In the early scenes, Lawrence frames Leon alone in shots representative of this character's isolation. To further the chaos and isolation that Leon is experiencing, Lawrence shoots his footage with a handheld camera, introducing instability into the footage. It is clearly established that Leon is dishonest and disloyal towards his wife, which often leads him to be out of sync with his wife on many issues; Sonja states that she "would like to go" while Leon complains "I'm tired." As Leon leads the investigation into the disappearance of Valerie Somers, he begins to change, as Lawrence uses close-ups to show the transition of emotions. For example, Lawrence uses an extreme close-up of Leon as he listens to his wife confess to Valerie that she would love him anyway; the shot is designed to show his emotion as he realizes what he has ruined. The audience further and explicitly sees the realization of his mistake and how he still cares for the family, as well as the progressive reintroduction of Sonja into Leon's shots, contrasted with Sonja's immediate removal from Leon's shots. Lawrence finally transitions from an extreme close-up showing Leon's pain to a bird's-eye view of Sonja lying with Leon. This is a change confirmed by the final scene of the couple dancing, which serves to signal the change that has actually occurred, resulting in a positive resolution. In contrast, Nik and Paula are presented as a stereotypically happy couple, in direct contrast to other mainstream relationships. While these characters are in financial difficulty, Lawrence uses several shots of the young family playing and relaxing together on the front lawn. Importantly, trust plays a key role in their relationship, meaning that when Nik is arrested and charged with murder the conflict is temporary and quickly resolved within the couple. When Leon places Nik under arrest, Lawrence presents the shots with slow pacing and slow transitions, symbolizing Nik's calmness, knowing he has done nothing wrong. In contrast, Paula is shown in a frantic and insecure mood through the use of quick, hard cuts from a handheld camera. The situation changes when Paula hears Nik say, "I didn't touch her, I didn't do it, honey"; at this point, transitions are slow and the camera stabilizes. This device has a profound effect on Leon, who later confesses his disloyalty to his wife..