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This symmetrical medium-wide shot is one that I cannot stop thinking about. Just the composure of all of it, the warm orange of the walls contrasting the black abyss between them. And then Geun-sae in the center with his head sticking out, looking like a terrifying presence puts it all together.

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I love this establishing shot purely for how it used light. The choice to flash a yellow light straight into Theo's face is not one made out of the light looking cool. Rather, Yellow light indicates fear in Film. So bathing the shot in yellow, and pointing it directly at Theo shows his fear perfectly, as he had just been kidnapped. This is also great use of the 4th Wall. as we get the entire rest of the room established to us.

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This entire sequence in the film is a perfect example of a well structured tracking shot. We start with Anton being at the car and track him going into the Pharmacy while perfectly seeing the car blow up in the background. It lets the shot fully compose itself, and gives you a good view of everything it needs to show you.

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I am in love with this shot of the film specifically because of what it means in the context of the film. Chiron and Water are integrally connected within the film. Specifically, the Ocean comes up a lot in the narrative. You have scenes of him learning to swim in the ocean, You have the scene of Chiron and Kevin making out on the beach. This all leads to when Chiron is an adult, and he goes to Kevin's home, right along that same beach that they made out on. By the end of the film, Chiron and Kevin reconnect, and it cuts to this shot. The child that Chiron looks back, almost as a symbol that Chiron is at peace now, and has finally been able to express his emotions that he had held in sense he was a child.

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Considering that this is my favorite film of all time, there are so many amazing shots I could talk about. But my mind always goes back to this specific close-up. The character of Agatha in the narrative is from the past, a human that the narrator telling the story lost. So coating her face with all of the colorful, hazy, almost nostalgic lights, makes for what is in my opinion, one of the most gorgeous-looking shots I've ever seen, and one of the most impactful shots of the whole film.

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I am obsessed with everything about this shot here. The film consistently uses a squished 1.19:1 Aspect Ratio to help build a claustrophobic atmosphere, as the story is about being trapped on a single lighthouse island and going crazy because of it. The Double shot here is just about the turning point of the film. Both of the characters sit across from each other in one cramped room, right on the edge of an argument, which they inevitably end up getting into. The shot shows a irreplicable split between the two characters, and sets the tone for the rest of the film entirely.

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I could pick any still from this film for this and call it one of the best shots I've ever seen because it's a gorgeously animated film. But this shot of the film I think speaks the most about what the film is trying to get across. The villains of the film are engaged in a war with the animal tribes of the land and are trying to grow their industrialist industry, but also kill the forest spirit, the creature keeping the world alive. This shot shows just the massive destruction these humans have done to the world for their selfish pursuits, with them standing high and mighty out of danger. It's a shot that is the antithesis of the motive of the film, showing how we need to save the environment, not by cheesy optimism, but by showing the horror and destruction that can ensue.

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A general theme the shots I enjoy the most are the ones that help tell the story in engaging ways. A perfect example is this shot, which does require me to spoil the film. At this point in the film, one of the main characters tries to dress up exactly like the other main character to not be noticed by authorities. But the twist of the film is that the first 2/3 of the film never happened, and was just the dream of Diane, the blonde woman on the left, who in real life is completely down on her luck, in stark contrast to how she was in her dream. So this shot can be read as Diane projecting onto Camilla (the other woman), making her look like the ideal person Diane wants to be because she feels in real life that Camilla is who she wants to be. Its a shot that may seem simple and standard, but when the curtains are peeled back, it says so much about the rest of the film.