Week 25.24 - Socials Roundup
Posts from 09 June - 15 June 2025
Week 25.24 posts include shots from Dead Presidents (1995); Goodfellas (1990); Point Blank (1967); Rome, Open City (1945); and The Residence (2025).
Rome, Open City
“A priest, a gun, and a bomb walk into a bar . . .”
Rome, Open City takes a clear-eyed look at the high personal cost of taking a moral stand, showing people wrongly imprisoned, tortured, and murdered in the name of fascism.
It also acknowledges humans need not just hope, but humour.
Check out our post on how the film uses both rapid editing and a oner to create different kinds of jokes and amusing moments.
Point Blank
We’ve talked about how Point Blank knows how to use an intercutting sequence and a practical light-and-colour change, but it also understands how to craft a powerful image in a still frame, like this mirror reflecting two characters watching each other in its fragmented shards.
Dead Presidents
Coming up next week we've got a deep dive on five of our favourite shots from this 1995 film, but these work so well specifically because of their proximity.
As Anthony waits below for his chance to rob the money trucks of cancelled bills, the drain grid looks like jail bars, foreshadowing what’s waiting . . . really, what’s been looming since he returned from Vietnam.
Meanwhile, the guards stand under a different set of bars; the flags of the country Anthony served for, which used him up and spat him out.
Goodfellas
Few closeups of generic objects so immediately bring to mind the film they're in like this shot of Paulie slicing garlic.
"He usta slice it so thin that it usta liquify in a pan with just a little oil. It was a very good system."
The Residence
One of the things you don’t always think about are shots-within-shots [sometimes-within-more-shots!]
This news broadcast from The Residence which airs on in-show televisions meant not only did they need to shoot scenes with Jake Tapper, but also make ‘news insert photos’ of Patrick Doumbe (Timothy Hornor) eating shrimp cocktail and standing with an enormous model of an ear canal . . . you know, like you do.
