After the logo appears, the film immediately takes the audience to the scene of a murder. This transition is extremely important because it both sets the scene for the film and piques the viewer’s curiosity. The camera slowly pans across the house, using a 360-degree rotation before stopping at the clearest angle. Initially, the image is blurred, but when rotated at the right angle, the house appears clearly, demonstrating the film’s intention to lead the audience step by step into the story accurately. This slow reveal makes the audience ask themselves the question: What happened here? Why is this place important? Keeping the image blurry and gradually clarifying forces the audience to piece together the visual clues to discover for themselves. The scene does not use fast cuts or sudden transitions but takes advantage of a long tracking shot, emphasizing Todorov’s theory of equilibrium. At this point, we are witnessing the moment of disruption as a murder has occurred, disrupting the normal world. The slow pace of the film makes the audience feel like they are actually entering the crime scene, increasing the authenticity and tension. Inside the house, the lighting is extremely dim, with cold blue and light gray tones dominating, creating a deadly and cold atmosphere. The contrast between the cold color of the environment and the bloodstains scattered everywhere further emphasizes the chaos and violence that has just occurred. However, the strange thing is that there is no sign of a break-in from the outside. The absence of any traces of forced entry breaks the usual expectations of a crime scene, making the audience wonder if this threat comes from something supernatural. This ambiguity further deepens the disruption phase, as the investigation gradually turns to something more terrifying. When the police search the basement, they discover a body that is Jane Doe. The difference is that while the other victims have obvious signs of assault, Jane Doe has no injuries on her body. Her appearance disrupts the logic of the case. According to Todorov’s theory, this moment marks the progression of disruption, when both the character and the audience realize that the film is not simply a normal murder case but has entered a supernatural dimension. The camera focuses on Jane Doe’s body with close-ups of her pale face, her lifeless but still haunted eyes, her expression unusually cold. Her face does not bear the marks of death in the usual way, but rather resembles a perfectly preserved mannequin. This terrifying image signals that her death is somehow illogical, leading to the mysterious events that follow in the film, as the characters attempt to restore equilibrium by learning the truth behind Jane Doe’s body. The sound design in this scene also plays an important role. Aside from the police’s dialogue, the majority of the sounds in the scene consist of diegetic sounds such as soft breathing, distant footsteps, and small rustling sounds. The lack of dramatic background music or sounds that signal immediate danger fits right into Todorov’s theory of disruption, prolonging the tension instead of creating sudden scares. This unnatural silence allows the audience to focus more on every little sound, creating a vague sense of anxiety, as if something is lurking in the dark. By applying Todorov’s narrative theory, The Autopsy of Jane Doe builds an extremely tight opening structure. The film initially introduces an equilibrium as a murder investigation, then disrupts that equilibrium by introducing strange and inexplicable details, pushing the characters into a world filled with mystery and the supernatural. This forces the characters to find a way to restore the equilibrium, but the question is whether they can do it?