An ongoing project to document Twitter film lovers favourite scene/shot in cinema.
Each person is entitled to choose one scene/shot that they love above all other, and post accompanying image or video , as well as explain the reason behind the choice.
Please keep in mind, some of these scenes/shots may reveal spoilers to key film moments.   Submit your entry to me on Twitter @dialmformovies  or email:

Twitter user:  @dialmformovies
Film:  ‘Rear Window’
Scene:   Getting caught out. 


To me it is the ultimate shot ever achieved in cinema.  For almost all of the film – James Stewart’s character, along with the audience, have been voyeuristically scanning an apartment block, happily intruding on other’s peoples lives, issues and failures.
But near the end, with a dramatic attack taking place, director Alfred Hitchcock suddenly turns the tables on us.  Shot as though we are looking through a telescope, Hitchcock suddenly and without warning
destroys our privacy invasion with this single moment – Raymond Burr turns around and stares directly back at us. 
To me it speaks about cinema as a whole.  We are never invited into a film, but rather we are voyeurs, who consciously choose to view life on a screen, depsite it being an invasion of privacy.


Twitter user:  @ScottFeinberg
Film:  Sideways
Scene: Maya (Virginia Madsen) telling Miles (Paul Giamatti) why she loves wine


Maya:  No, I- I like to think about the life of wine.
MIles Raymond:  Yeah.
Maya: How it’s a living thing. I like to think about what was going on the year the grapes were growing; how the sun was shining; if it rained. I like to think about all the people who tended and picked the grapes. And if it’s an old wine, how many of them must be dead by now. I like how wine continues to evolve, like if I opened a bottle of wine today it would taste different than if I’d opened it on any other day, because a bottle of wine is actually alive. And it’s constantly evolving and gaining complexity. That is, until it peaks, like your ’61. And then it begins its steady, inevitable decline.
MIles Raymond:  Hmm.
Maya:And it tastes so fucking good.


”[director] Payne at his most poetic.”

Twitter user:  @the_exploder
Film:  Irma Vep
Scene:  Slinking.


‘I don’t know why’  is the reason why I love this scene

Twitter user: @claybo76
Film:  Children of Men
Scene: Car Ambush


After much brain-wracking, I’ve decided on this scene because I can still remember watching it for the first time. While technically brilliant, and marvelously executed, it was the feeling of dread I felt when the flaming car came down the hill that sticks with me. Then we were stuck inside the car during the retreat and the following attack.  I remember my heart racing, and thinking that we have to get out of here. It was then I realised that scene up to that point had been all one shot, which floored me…and it kept going. I love this movie, but that scene and the feelings I associate with it, resonate with me to this day.

Twitter user:  @Myfilmsviews
Film: Pulp Fiction
Scene:  Eziekel 25:17

Because it’s one of best written, greatly acted and funny scenes ever recorded on film”


Twitter user: @thecinemascene
Film:  Return of the Jedi
Scene: The Space Battle of Endor

This was a hard one to pick as there are many film scenes that could have qualified for this but in the end there was really no question as to what scene I wanted to pick, and that scene is the Space Battle of Endor in Return of the Jedi.


There are a few reasons why I love this sequence more than most, first it’s because it was the first big battle scene I can remember seeing as a Kid that really blew me away and gave me the sense that these two fleets were giving it all they’ve got in one last battle to the end while the Rebels also sought to go into the Death Star to destroy it, that scene as well really captured my imagination.

But as an adult, I appreciate the sequence just as much for its filmmaking aspects, the special effects work is outstanding, the editing is superb and we genuinely care about the characters involved in the action in the sequence, something that by contrast, today’s action lack in a big way.


Twitter user: @wacko_smacko (Minh Ai)
Film: Martha
Scene: The 720 degree shot

I love this scene purely from an aesthetics point of view. It is truly stunning and breath-takingly beautiful. 
The scene revoles around the initial meeting of the two main characters, Martha and Helmut.
I find the intricacy of the sequence, in which the camera moves around the two characters for a 720 degree shot, nicely contrasts with the nature of their relationship as the film develops, with him in the role of the controlling transgressor, and her as the submissive and repressed housewife.
The beauty of the shot does not foreshadow the tumultous relationship that will ensue, and that is what I like about it.

For a brief moment, we bear witnesses to the ill-fated allignment of two souls, captured in a seamless sequence that is utterly breath-taking in its sheer beauty. 


Twitter user:  @leezacariah  (The Bazura Project, Hell Is For Hyphenates, Ain’t It Cool News. )
Film: Singin’ In The Rain
Scene:  The Boardwalk Melody Sequence

Specifically, the bit where Gene Kelly and Cyd Charisse dance together. Specifically, the moment where, after she teases/seduces him, he gets fed up, grabs her arm, pulls her towards him, and they engage in the most perfectly-choreographed moment in cinema history.

Musicals are the perfect type of movie in my mind: although I obviously love non-musicals, there is a disparity between highly-stylised sets, cinematography, production values etc, and human actors trying to act as naturalistic as possible. In musicals, artifice is given to every elements, actors included, so that naturalism is done away with, and every movement, every sound uttered is in service of invoking the same feeling that the other, deliberately unreal elements do. And this is the greatest example of it in cinema history.

And that’s not even taking into account that the dance is not a diversion from what came before, but is a key moment of character development.

Rare is the joy that compares to the moment when, just after they’ve begun their dance proper, the horn kicks in, high and mighty, and Charisse’s arm is flung back in pure ecstasy. Magic.