During the scene where the men put her in the coffin, the light dims out when the nails go in , the music fades to a gradual stop and the torch light turns off as we hear the non diegetic sound of the car going away which indicates that all hope is gone. The very fact that this actress looks so beaten up makes us think that she is weak and will not be capable of escaping from them. There are a lot of eye-line match shots between her and the men holding her captive which switch between both of their views and from her view, they are dominating above her which creates a binary opposition making her look weak and them powerful. The men are above her on eye-line match when they put her into the coffin and one of them says, "This is for breaking my brothers heart." We now know that he is in control. The diegetic cricket sound highlights that they are in an isolated area so no one would be able to save her. The sound suddenly shifts to a non diegetic western type of music so that we pick up a sense of the setting. We then hear diegetic noises as they bolt her into the coffin and once the coffin is bolted we hear destruction and amplified breathing noises from the actress to initiate that she is distressed and feels as if she is going to suffocate, therefore we believe that she will not survive.
Once she is stuck in the coffin, the camera is tight on her face to make the space around her look smaller. There is a darkness in the coffin proving that there is nothing in the coffin apart from her and we can only hear diegetic sounds of her breathing which connotes her isolation. Also, as the torch light is on her face, we are able to see the state she will be in when she dies. However, the mariarchy music returns, revealing that there is still hope for her to escape. There is also a non diegetic sound of slow thumping and a heartbeat which implies she is a lot calmer and is in control. The cutting shots from her eye-line view to her boots portray the progress she is making and now that the camera is taking shots at different angles whilst panning around, it makes the coffin look more spacious, therefore it is easier to for her to escape and is less of a tight space.
We start to realise that she is managing to escape as the music speeds up in pace and has more cuts with a beat that sounds as if she is breaking out, nearly escaping. This makes us have faith in her that she will save herself as the music gets louder. The shot switches from her face to the ceiling of the coffin which presents her achievements and concentration of escaping. The camera is then placed at a low angle on her in the coffin to indicate her power and strength as she overcomes being trapped. Although the lighting is dim, the torch is still shone on her face which lights up the coffin and this golden lighting gives us hope, making her look more angelic than previously.
As she smashes through the ceiling of the coffin, we hear a lot of diegetic sounds from the soil crashing into the coffin which heightens the tension of the scene. There is then an establishing shot back at the scene where she was first put in the coffin so we know where it is set. Finally, the music comes to a stop as her hand thrives out of the soil in a victorious grasp in the air, with the camera zooming in.
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