Gordon’s status is emphasised in the dialogue by Sweetie’s need for approval and Kay’s desire to please him Sweetie, in hovering over and around Kay, is portrayed as the dominant sister. Gordon is closest to the camera, filling the foreground, and he is placed on the right, open to his daughters on the left, suggesting that he is the dominant figure in the relationships. The positioning of the characters in the kitchen scene reveals the nature of their relationships.The editing in the kitchen and bedroom scenes creates the impression that when Sweetie is nearby things are managed carefully and slowly to keep her passive, while the many rapid cuts between Kay, Louis and Gordon in the car create a sense of urgency about their situation. In the kitchen and bedroom scenes there are eight cuts in total, compared with sixteen in the car scene. The varied rhythms of the edits reflect different moods in each of the scenes.This can be seen in the contrast between Gordon’s underplayed acceptance of Sweetie’s antics and his surprise at Kay’s lack of a freezer, in his exaggerated chin stroking when looking at Bob and in Kay’s desperation not to lose Louis’s suit. In this clip Gordon and Kay, in particular, act in an understated comic style that makes the ordinary seem odd. Comic and stylised performances can elicit a sense of quirkiness and unease from relatively banal situations.Low-key comic performances, a stylised design and idiomatic dialogue contribute to the clip’s black humour. After Sweetie’s attention-seeking performance in the kitchen and the discomforting way she introduces her boyfriend Bob (Michael Lake) to Gordon, Kay and her partner Louis (Tom Lycos) tell Gordon of their desire to evict Sweetie and ask for his help. This clip shows the quirky relationships between Gordon (Jon Darling) and his daughters, Kay (Karen Colston) and Sweetie (Geneviève Lemon), and between his daughters and their partners.
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