
A Streetcar Named Desire
Elia Kazan · 1951
Harry Stradling shot the film in black and white, and the Kowalski apartment set was designed to look gradually smaller as the story went on. As Blanche's situation gets worse, the space feels more oppressive, with the walls seeming to close in. Through the way it is built and shot, the space itself turns into the trap Blanche can't escape.
Where to see it: The late-night confrontation sequences. The apartment's walls press in and the framing tightens. Blanche's mental space and physical space shrink together.




