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Using a table frame as a match-cut element is an odd choice, especially given it's scrap material. Finally, there’s daylight, so we can comfortably count how many dualities fit into the wide shot: wheeled vehicles, people inside the car, people outside it, water on either side of the road (good fortune comes in two forms). The mise-en-scene keeps toying with the vanishing point, a reminder not to mistake analogy for symmetry. This shot is really about establishing power dynamics within the group. Notice this man’s trembling legs — just an illusion from the wind. Let's wait and see which way it blows.