Hunger: A Shot-for-Shot Breakdown

The amount of editing cuts in a film depends entirely on the way the filmmaker chooses to tell the story. Though it’s hard to calculate the average amount of cuts for all films, most modern action films typically contain upwards of 3,000 cuts – the idea is that by cutting so often, especially in an intense action sequence, viewers will feel the intended frantic energy of the scene. Other genres, like melodramatic foreign films, typically contain less than 500 cuts. Perhaps here, the intention is to hold shots longer as a way of maintaining tension.

The first time I saw Steve McQueen’s first feature, Hunger, I was immediately taken with how the film only cut when it was absolutely necessary. So I thought it’d be fun to break Hunger down and examine every shot/editing cut in the film. Admittedly, this was a risky idea. I’ve never done anything like this before – would my comments grow horribly redundant? Would I literally have something to say about every shot? Ultimately, I found that the only time I was being redundant was when I described a series of shots that lasted for less than a second, so I decided to occasionally leave descriptions for those shots blank.

The result is an immersive exercise for those interested in cinematography, editing, and, of course, Hunger itself. I hope you like what I discovered within the carefully constructed world of Hunger.

Shot 1 – 4 seconds

We hear the sounds of clanking growing louder and louder over the film’s opening credits, and the moment this first shot appears, the sound increases drastically, throwing us right into the film.

Shot 2 – 7 seconds

The first person we see in the film is an anonymous woman we won’t see again. (Interestingly, the Criterion Collection booklet for Hunger says this person is Liam Cunningham, who plays Father Dominic Moran. An odd error on Criterion’s part.) One of the best things about Hunger is the way characters come and go without warning. The story is the star.

Shot 3 – 9 seconds

Back on the pans slamming against the table. A mirror shot of Shot 1. Except this shot is held for twice as long, with the sound steadily increasing. When the shot ends, the title card is accompanied by deafening silence.

Shot 4 – 15 seconds

A man prepares to soak his bruised hands in water. This is a reoccurring shot (both in framing and narrative) that McQueen will come back to often.

Shot 5 – 20 seconds

Our first look at the man, who blankly stares at himself in the mirror for several seconds.

Shot 6 – 8 seconds

Back to the same coverage in Shot 4. Another theme of Hunger is McQueen’s lack of traditional coverage. He typically only has one or two set-ups for every scene.

Shot 7 – 5 seconds

I love the high angles of these shots. We’re obviously dealing with a precise, exacting man.

Shot 8 – 8 seconds

The complete lack of emotion in his face is so absorbing.

Shot 9 – 5 seconds

Insert shot of the man buttoning his shirt. We again notice his bruised knuckles. Due to the absence of dialogue, we’re forced to infer.

Shot 10 – 3 seconds

Notice how this is the same angle used in the sink shots (4 & 6), and Shot 7 – above, to the right. McQueen is already establishing a visual and narrative symmetry of his film.

Shot 11 – 16 seconds

The film’s first centered composition, which will be another visual theme of the movie.

Shot 12 – 10 seconds

An amusing shot of crumbs hitting the napkin in the man’s lap. Again, his knuckles. This shot is also the first time we hear dialogue in the film, though it is coming from a television (or radio) very faint in the background.

Shot 13 – 24 seconds

A seemingly simple shot of a man leaving for work. Yet his face looks mildly suspect.

Shot 14 – 4 seconds

He looks to his right, but what is he looking for?

Shot 15 – 2 seconds

Back to the establishing shot of Shot 13.

Shot 16 – 4 seconds

He looks to his left. There’s nothing there, but he’s clearly suspicious. Also, whether or not you consciously realize as a viewer that Shots 14 and 16 are the same exact length, you subconsciously pick up on the film’s evenness. That’s great filmmaking, and it is something McQueen does repeatedly in Hunger.

Shot 17 – 3 seconds

Back to the establishing shot.

Shot 18 – 9 seconds

Here’s where things get interesting. This poor bastard has to check under his car every morning to see if his automobile is rigged with an explosive. What a way to live.

Shot 19 – 5 seconds

The wife watches her husband, unnoticed. Can’t imagine she likes that he has to do this every morning.

Shot 20 – 6 seconds

Our first shot of the man’s wife. What a face. She’s been through it.

Shot 21 – 3 seconds

Starting the car. Because these insert shots are held for longer than we’re used to in most movies, the tension mounts quickly.

Shot 22 – 4 seconds

Was she waiting to see if it would blow? Does she do this every morning?

Shot 23 – 6 seconds

Pulling away. He doesn’t stop to lock the gate, but he honks twice as a way of saying goodbye. Perhaps he knew she was watching him. Interesting way for Hunger to establish the daily routine these two have.

Shot 24 – 17 seconds

Love how he’s buried in the right side of the frame. This is also the first time clear dialogue is heard, though it is still coming from the radio, not a character on screen.

Shot 25 – 22 seconds

New location. Cold. Hollow. Also the first time the camera moves considerably, as we track the man down a hallway.

Shot 26 – 16 seconds

The man walks through a locker room, past several other guards, many of who are chatting idly. No one greets or acknowledges the man at all, which really says something about who this guy must be.

Shot 27 – 3 seconds

British flag keychain. We know whose side he’s on.

Shot 28 – 7 seconds

Gun out, rings off. This fella is the real deal.

Shot 29 – 1 second

Quick shot of the man walking away from his locker. The shortest shot of the movie so far.

Shot 30 – 14 seconds

Our man tells an amusing anecdote that everyone enjoys. Maybe he’s not that bad after all.

Shot 31 – 23 seconds

Back in a mirror, but this time he’s distressed as all hell, breathing heavily.

Shot 32 – 5 seconds

Identical composition to Shot 4. It’s all about symmetry. But look at those knuckles now. Goddamn. We’ve clearly missed some action, so now the tension will steadily increase until we find out how bad that action really is.

Shot 33 – 46 seconds

Longest shot in the movie so far. Love how the sweat is coming through his shirt. Also, here is the second major camera move in the film, as it slowly pushes in on our distressed subject.

Shot 34 – 19 seconds

Close-up of those knuckles. Mounting tension, we know we’re going to see what causes those bruises soon.

Shot 35 – 8 seconds

Love this out of focus close-up, a McQueen trademark (like Michael Fassbender on the train in the beginning of Shame.)

Shot 36 – 2 seconds

Back to the master shot of Shot 33.

Shot 37 – 4 seconds

A rat stares at the man before walking away. Who’s worse off?

Shot 38 – 10 seconds

Love that he’s completely unfazed by the rat’s appearance.

Shot 39 – 11 seconds

Dark, low angle tracking shot. Our first time in the prison ward. Everything about this shot is menacing.

Shot 40 – 7 seconds

Reverse shot of the man walking down the hallway. His back is drenched in sweat too.

Shot 41 – 52 seconds

This is interesting. He was all Funny Joke Guy at the beginning of the day, now he eats alone. Guess he loses his sense of humor after he beats the shit out of prisoners. Also love that the longest shot of the film so far has this man folding a piece of aluminum foil over and over. He’s so lost.

Shot 42 – 9 seconds

Our first wide shot of the bathroom. A location we’ll soon revisit in terror.

Shot 43 – 7 seconds

For the next few shots, Margaret Thatcher is heard giving a speech over the soundtrack. The clearest words in the film so far.

Shot 44 – 8 seconds

What great, cold composition. A shot foreshadowing ones we’ll see at the end of the film.

Shot 45 – 6 seconds

Without warning, we switch to a new character. Who is he? What’s his story? Will he soon meet the guard we’ve been following thus far?

Shot 46 – 3 seconds

A somewhat empathic guard looks at our new subject, presumably a fresh prisoner.

Shot 47 – 5 seconds

Doors open to unload the man, who is shackled to one of the guards.

Shot 48 – 4 seconds

Closer shot of the man getting out of the van.

Shot 49 – 3 seconds

This is the second time we’ve entered Maze Prison, but now seeing how the other side of the law enters the jail.

Shot 50 – 11 seconds

Close-up of the prisoner, who may or may not be looking directly into the camera. The lighting makes it difficult to tell. McQueen does this often in all of his films.

Shot 51 – 7 seconds

This is the first time in the film where we hear clear dialogue from an actor on screen.

Shot 52 – 15 seconds

A guard writes in his manifest, labeling this prisoner as “Non-Conforming Prisoner.” Notice how long McQueen holds the shot. He wants us to soak it in.

Shot 53 – 3 seconds

Reverse shot of the guard who was just writing.

Shot 54 – 1 minute 23 seconds

Back to the master shot of Shot 51, as the prisoner spends well over a minute silently undressing, even after refusing to do so.

Shot 55 – 20 seconds

The guard is completely blank as the prisoner fully disrobes. These guards are cold, hardened men.

Shot 56 – 6 seconds

We’ve moved far out of the previous room, but the prisoner is still in the shot. This is something McQueen does often in Hunger – keeping his main subject in frame as much as possible.

Shot 57 – 2 seconds

A close-up of the prisoner as he’s escorted to another guard.

Shot 58 – 2 seconds

The shots are becoming more rapid. Is trouble is soon to follow?

Shot 59 – 3 seconds

The prisoner is noticeably frightened. What is in store for him?

Shot 60 – 6 seconds

Similar to how we’ve only seen the after effects of the guard’s abuse, this shot of the prisoner’s gashed head is McQueen holding off on displaying violence. By doing this, we become more curious of just how bad the prisoner treatment is. Again, the delayed “payoff” gives Hunger an overall sense of impeding dread.

Shot 61 – 15 seconds

How humiliating it must be to be escorted through a prison, stark naked, with a massive wound on your head.

Shot 62 – 30 seconds

The first time our two main characters have been on screen together. McQueen makes sure we notice this, given how long the shot is held.

Shot 63 – 10 seconds

Love how the inside of the cells are lit so coldly during the daytime.

Shot 64 – 55 seconds

A long pan shot of the cell, which appears to be covered entirely in smeared shit. We’re in for it now.

Shot 65 – 9 seconds

Back on the prisoner, who has just locked eyes with his cellmate (who became visible at the tail end of Shot 64).

Shot 66 – 16 seconds

The first traditional two-shot of the film so far. Though, this being Steve McQueen, there’s nothing really traditional about it. I mean, hell, they’re practically in silhouette. 

Shot 67 – 8 seconds

The roommate has just spoken for the first time. We learn the length of his prison sentence, but he doesn’t tell us how long he’s been in so far. But what does the length of his beard signify? Notice what McQueen is telling us without having a character tell us.

Shot 68 – 9 seconds

The new prisoner, clearly still distraught, tries to make his way through the conversation.

Shot 69 – 8 seconds

Back on the roommate.

Shot 70 – 6 seconds

Quickly realizing that viewers with American ears will have to adjust to the thick Irish accents in the film.

Shot 71 – 3 seconds

Cinematography and editing wise, this is one of the very few traditionally covered sequences in the film.

Shot 72 – 12 seconds

The roommate has revealed that his sentence is 12 years. The new prisoner, 6. Six years in a literal shit hole.

Shot 73 – 2 seconds

The weathered roommate is seemingly unimpressed by the new prisoner’s lighter sentence.

Shot 74 – 3 seconds

Traditional conversation coverage for the next few shots.

Shot 75 – 4 seconds

Shot 76 – 4 seconds

Shot 77 – 2 seconds

Shot 78 – 3 seconds

Back to the two-shot coverage of Shot 66.

Shot 79 – 16 seconds

Outside of the mens’ room, in which the new prisoner is given a name, Davey Gillen. His roommate, Gerry Campbell. This shot ends with a fade to black – the first fade of the film – which traditionally suggests a long amount of time will pass before the next shot.

Shot 80 – 29 seconds

Great shot that starts at Davey’s feet and slowly pans up to his face.

Shot 81 – 1 minute 13 seconds

The fly shot, in which Davey ever so gently plays with a fly that has found its way to his cell. The fly looks real, not created with computer graphics. Would love to know how long it took to capture this.

Shot 82 – 12 seconds

Close-up on Davey’s face as he stares outside. This shot also ends with the frame fading to black.

Shot 83 – 7 seconds

This is so telling: one guy eats while the other spreads his shit all over the walls. This is their collective life.

Shot 84 – 4 seconds

Here we actually see Gerry doing the spreading.

Shot 85 – 3 seconds

Back to Davey’s coverage as he stands up.

Shot 86 – 3 seconds

And then the money shot of a huge pile of uneaten food. These guys are eating just enough to produce a decent amount of shit that they can later spread on their walls. That’s dedication.

Shot 87 – 4 seconds

I remember wondering what the hell was going on here when I first saw the film.

Shot 88 – 4 seconds

Close-up of this little project.

Shot 89 – 4 seconds

Someone is heard yelling outside.

Shot 90 – 4 seconds

And then we see it: a giant bowl of piss. The little wall is to help push the piss out of the cell, into the hallway. (Notice that every shot in this sequence has been 4 seconds long. Symmetry.)

Shot 91 – 15 seconds

Great shot in which the camera tracks down the hallway, showing that other prisoners are doing the exact same thing with their piss.

Shot 92 – 10 seconds

This is the first time we realize how unified all the prisoners are. It’s also a key shot we’ll come back to later in the film.

Shot 93 – 5 seconds

Here’s a shot of a guy shitting into his own hand and then smearing it on the wall. I love Hunger because it unflinchingly, unapologetically shows us what life was like in Maze Prison.

Shot 94 – 4 seconds

Love Davey’s indifference as to what Gerry is doing.

Shot 95 – 6 seconds

Insert shot of Davey folding a tiny note over.

Shot 96 – 2 seconds

The attention to detail in this film is incredible. It really shows how hard it would be to smuggle a simple note out of the prison.

Shot 97 – 4 seconds

Shot 98 – 5 seconds

Nice two shot that finally shows us what both men are doing at the same time. This is a motif McQueen utilizes throughout the film: starting close then slowly moving farther away with subsequent shots. Most movies do the opposite.

Shot 99 – 6 seconds

Another insert shot of Davey concealing the note.

Shot 100 – 20 seconds

Davey hiding the note in his mouth.

Shot 101 – 26 seconds

Save the hallway piss shots, this is the first time we’ve left the cell in quite some time.

Shot 102 – 8 seconds

Davey and his roommate changing clothes. Can you imagine how bad they smell?

Shot 103 – 6 seconds

Close-up of the roommate tearing a hole in his new pants. Hunger never explains anything. We’re forced to spectate and assume, until actions are explained later through other action.

Shot 104 – 2 seconds

A nice little moment of pause after Davey thinks he hears a guard coming.

Shot 105 – 1 second

Back to the roommate ripping into his clothes.

Shot 106 – 4 seconds

Shot 107 – 4 seconds

Shot 108 – 5 seconds

Back to the two-shot that started this sequence.

Shot 109 – 5 seconds

Finally, we’re given a look at the outside world. Or at least a few of the people who inhabit it.

Shot 110 – 5 seconds

Davey with his sweetheart. We wait to see how they’ll pull off passing the note.

Shot 111 – 11 seconds

And, again, none of this is explicitly stated. You have to pay attention and infer. It’s active viewing, which I love.

Shot 112 – 5 seconds

Gerry’s girl waiting for the opportune moment.

Shot 113 – 4 seconds

Gerry gives the nod of approval.

Shot 114 – 3 seconds

Back on the girlfriend.

Shot 115 – 3 seconds

Cut to under the table.

Shot 116 – 3 seconds

Back to Davey and his girl.

Shot 117 – 8 seconds

Great shot of the looming guard. Love that we can’t see his face. Also love that this shot morphs into a close-up of Davey and his girlfriend kissing.

Shot 118 – 3 seconds

Gerry’s girl pulling a package out of her, well, you know.

Shot 119 – 2 seconds

Passing it off…

Shot 120 – 4 seconds

… to her man.

Shot 121 – 2 seconds

Who then proceeds to shove it up his own ass, explaining why he ripped a hole in his pants earlier.

Shot 122 – 2 seconds

Love the girlfriend’s satisfaction in watching him do this.

Shot 123 – 4 seconds

That face pretty much says it all.

Shot 124 – 7 seconds

Back to the baby (whose clothing is being used to smuggle contraband) we saw in Shot 111. So now that shot pays off too.

Shot 125 – 13 seconds

Back in the hell of the cell.

Shot 126 – 5 seconds

Roommate digging his ass package out of the food/shit pile.

Shot 127 – 11 seconds

Unwrapping his package. Notice how warmly lit the room is now. Such mischievously gorgeous lighting.

Shot 128 – 12 seconds

The package is revealed to be a rather large radio (I mean, large in that it had to fit up the guy’s ass).

Shot 129 – 6 seconds

Back on Davey in the corner.

Shot 130 – 25 seconds

Roommate hooking the radio up. And now they have news from the outside world, which is vital.

Shot 131 – 7 seconds

Back to Davey’s coverage. Remember, a decipherable word hasn’t been spoken in the past several minutes. Hunger is all about exposition-free attention to detail.

Shot 132 – 34 seconds

Davey restless in the night.

Shot 133 – 8 seconds

Roommate is passed out, maggots all around.

Shot 134 – 22 seconds

Evocative two shot that contrasts the veteran from the rookie.

Shot 135 – 11 seconds

This poor guy. He has s small, crumpled up picture for inspiration, and he’s forced to jerk off next to another guy, surrounded by walls of shit and maggots.

Shot 136 – 24 seconds

Shot 137 – 2 seconds

Shot 138 – 2 seconds

Shot 139 – 18 seconds

Shot 140 – 18 seconds

I love that the only way we can tell it’s morning is because of the cold mood lighting.

Shot 141 – 5 seconds

They hear rumblings outside. Davey looks anxious. Is this the calm before the storm?

Shot 142 – 4 seconds

Close-up of Gerry looking increasingly panicked.

Shot 143 – 5 seconds

A rare look outside the cell, which suggests trouble could be coming.

Shot 144 – 4 seconds

Back on Gerry, who has been through this before.

Shot 145 – 3 seconds

I can’t imagine living my life in a constant state of uncertainty and complete lack of control.

Shot 146 – 3 seconds

Back outside, the tension is mounting.

Shot 147 – 8 seconds

Gerry’s fear is becoming our fear.

Shot 148 – 8 seconds

Davey’s paranoia is becoming our paranoia.

Shot 149 – 11 seconds

Gerry speaks, and it’s almost shocking to hear a full voice again.

Shot 150 – 5 seconds

“Get ready,” is all Gerry can think to say.

Shot 151 – 2 seconds

Deep breaths.

Shot 152 – 3 seconds

Now that we assume their point of view, badness is almost certainly near.

Shot 153 – 2 seconds

Shot 154 – 2 seconds

Shot 155 – 1 second

The carnage begins. This is where the bruised knuckles and head gashes are finally explained, and Steve McQueen has no interest in shielding any of it from us.

Shot 156 – 1 second

Shot 157 – 1 second

Shot 158 – 2 seconds

Shot 159 – 4 seconds

This is interesting. When we saw the prisoner thrown from his cell in Shot 155, we assumed it was either Davey or Gerry. But it wasn’t, they’re still just listening to what is happening.

Shot 160 – 2 seconds

And I love that we don’t even know who this random prisoner getting beat on is. Yet. It's another anonymous character throws into his film without warning.

Shot 161 – 5 seconds

Reverse shot of the main being dragged down the hallway.

Shot 162 – 2 seconds

Jump cut of the same footage. The first jump cut in the film so far, an editing technique that, in Hunger, is mostly reserved for this one character, Bobby Sands (Michael Fassbender).

Shot 163 – 2 seconds

Another jump cut.

Shot 164 – 2 seconds

This is one of two scenes in Hunger that contain several cuts in rapid succession. I’ll let the shots speaks for themselves.

Shot 165 – 1 second

Shot 166 – 1 second

Shot 167 – less than a second

Shot 168 – 12 seconds

Shot 169 – 1 second

Shot 170 – 2 seconds

Shot 171 – 3 seconds

Shot 172 – 2 seconds

Shot 173 – 2 seconds

Shot 174 – less than a second

Shot 175 – 3 seconds

Shot 176 – 2 seconds

Back to our dutiful guard. We finally get to see him work.

Shot 177 – 1 second

Shot 178 – less than a second

Shot 179 – 2 seconds

I didn’t know who Michael Fassbender was when I first saw Hunger, but now, I’d recognize those eyes anywhere.

Shot 180 – 1 second

Bobby spits on the guard. The guard prepares to retaliate.

Shot 181 – 1 second

The guard connects once with Bobby’s face.

Shot 182 – less than a second

Goes in for a second punch…

Shot 183 – 1 second

…then nails the wall. Ouch.

Shot 184 – 1 second

Shot 185 – less than a second

Shot 186 – less than a second

Shot 187 – 1 second

Shot 188 – 3 seconds

The guard gets his stool ready.

Shot 189 – 2 seconds

Shot 190 – 4 seconds

Shot 191 – 4 seconds

Horrifying close-up of Bobby being forced to have his hair and beard cut.

Shot 192 – 1 second

Jump cut of same coverage.

Shot 193 – 1 second

Shot 194 – 1 second

Guard’s coverage as he cuts. So calculating.

Shot 195 – less than a second

Back on Bobby.

Shot 196 – less than a second

Shot 197 – less than a second

Shot 198 – 1 second

Even closer now. Look at those goddamn scissors. The guard is actually cutting into Bobby’s scalp.

Shot 199 – less than a second

And the blood.

Shot 200 – less than a second

Shot 201 – 1 second

Back on the guard.

Shot 202 – 1 second

Back on Bobby.

Shot 203 – less than a second

Shot 204 – less than a second

Shot 205 – less than a second

Shot 206 – less than a second

Shot 207 – 3 seconds

Seeing more of Bobby’s face now.

Shot 208 – 4 seconds

Shots are lasting a little longer now, an indication that the carnage might soon be over. Might.

Shot 209 – less than a second

Shot 210 – less than a second

Guard puts his scissors down.

Shot 211 – 4 seconds

Bobby is moved to the tub.

Shot 212 – less than a second

Jump cut in the tub.

Shot 213 – 1 second

Another jump cut.

Shot 214 – less than a second

Shot 215 – 1 second

Back on the guard.

Shot 216 – 1 second

Overhead shot of the mayhem.

Shot 217 – 1 second

Push in of the same shot.

Shot 218 – 2 seconds

Back to the side angle from Shots 212-214.

Shot 219 – 3 seconds

Now the brush comes out.

Shot 220 – 1 second

Must be a powerful damn brush, because Bobby can’t even move now.

Shot 221 – 1 second

Reverse overhead shot.

Shot 222 – 3 seconds

Pulling a near lifeless Bobby out of the tub.

Shot 223 – 5 seconds

Taking Bobby away.

Shot 224 –8 seconds

And we’re back at the sink. Full circle. Also, this is the first time music has been heard in the film.

Shot 225 – 8 seconds

Narrative and visual symmetry. We’ve seen this exact shot before (Shot 31), several minutes earlier in the film.

Shot 226 – 3 seconds

Great wide shot of the chaos that just ensued.

Shot 227 – 14 seconds

One of the best shots in the film. Underneath glide shot of guards carrying a beaten-to-shit Bobby Sands back to his room.

Shot 228 – 13 seconds

Back to another of the guard’s nice little moments of reflection. What a life this guy leads.

Shot 229 – 32 seconds

Nice tracking shot of a guy walking into a cell, preparing to spray it down.

Shot 230 – 55 seconds

This shot perfectly encapsulates the visual aesthetic of Steve McQueen. It’s a detailed, transfixing display of art created by a political prisoner… that just happens to be made of shit. THIS is the Steve McQueen shot of Steve McQueen shots.

Shot 231 – 12 seconds

First full shot of Bobby, who is somehow still alive.

Shot 232 – 13 seconds

 “Are you all right, Bobby?”

Shot 233 – 9 seconds

“I’m grand, ma.” Fuck sake.

Shot 234 – 13 seconds

Master shot of the table. See, we started close, on Bobby first, then jumped to his parents, then jumped to a master shot. Again, most movies do it the other way around.

Shot 235 – 9 seconds

More note sneaking.

Shot 236 – 7 seconds

Bobby observing.

Shot 237 – 7 seconds
Bobby’s sympathetic parents. What remarkable faces these two actors have.

Shot 238 – 5 seconds

Holy hour.

Shot 239 – 10 seconds

I love that this is the only time there are no guards around. These guys could give fuck all about contributing to their faith. They’re here to conspire.

Shot 240 – 10 seconds

Love the dedication of the priest though.

Shot 241 – 5 seconds

If you pay close attention to this sequence, Bobby can be seen in nearly every shot. It’s McQueen never letting the main character of the moment out of our sight for too long.

Shot 242 – 6 seconds

Davey is really the only one who is interested in what the priest has to say.

Shot 243 – 4 seconds

Shot 244 – 3 seconds

Or he’s silently telling the priest to give it a rest.

Shot 245 – 4 seconds

Shot 246 – 2 seconds

Shot 247 – 2 seconds

Passing a note to the leader.

Shot 248 – 3 seconds

For the first time, we see the two heroes of Hunger meet.

Shot 249 – 4 seconds

Shot 250 – 5 seconds

Shot 251 – 6 seconds

And now, without warning, we’ve completely switched main characters. The guard, Davey, and Gerry are all treated as secondary from here on out. I love the lack of character dedication in this film.

Shot 252 – 6 seconds

Shot 253 – 2 seconds

Shot 254 – 1 second

Shot 255 – 4 seconds

Shot 256 – 9 seconds

Hunger’s visual style completely goes against the conventions of filmmaking. As a rule, you’re taught to start a scene with a master shot (as far away as possible, so the viewer can take in the entire room), then push in closer with a medium shot, then a close-up. Hunger tends to start in close-up and work its way out, which gives the film a unique intimacy.

Shot 257 – 4 seconds

Shot 258 – 5 seconds

And I love how the film conveys otherwise mundane things – connecting with a fly, sitting in a room, rolling a smoke – with such importance. We really get of sense of these prisoners’ lives.

Shot 259 – 2 seconds

Shot 260 – 7 seconds

Shot 261 – 15 seconds

I love the way Fassbender raises his eyebrows slightly when he finally gets the smoke lit. It’s as if he can’t believe he actually did it.

Shot 262 – 17 seconds

The smallest note. The most important information.

Shot 263 – 5 seconds

Shot 264 – 4 seconds

Shot 265 – 10 seconds

Here’s an interesting shot. To show the passage of time of the note burning, Shot 265 cross dissolves into a new shot. McQueen is always smart to not overuse different editing techniques.

Shot 266 – 5 seconds

And then this shot ultimately cross dissolves into Bobby looking out his window.

Shot 267 – 12 seconds

I love the that Steve McQueen loves silhouettes.

Shot 268 – 19 seconds

What’s fascinating about this shot is that Fassbender bends down out of frame for 5 seconds to pick something up off the ground. Letting your main subject dip out of frame for that long is something you’ll rarely find in a mainstream American film.

Shot 269 – 8 seconds

The only time part of a note is legible to us. “NEGOTIATE!” But how? With whom?

Shot 270 – 13 seconds

Shot 271 – 13 seconds

This ranks among my favorite shots in the film. The deep right composition (something McQueen does often in this movie, see Shots 24 & 31) the cold lighting, the convincing make-up, and, of course, Fassbender’s despondent face. Look at everything he’s telling us.

Shot 272 – 8 seconds

Now, look at what this new shot is telling us, without dialogue. Bobby’s left eye is in considerably better shape, so quite a few days have passed in the flash of one cut. There are new fixtures on the wall (a wall now devoid of shit), and so on. That’s active filmmaking; filmmaking you have to pay attention to. It’s also great how Fassbender is now on the left side of the frame, as opposed to the right side in the previous shot. This keeps our brain active and thereby, invested.

Shot 273 – 5 seconds

Back in the hall. I love the acting from these guards. You can tell they know Bobby is trouble.

Shot 274 – 6 seconds

New shoes, new clothes. Is this the guards extending an olive branch?

Shot 275 – 4 seconds

See, since Bobby has been introduced, McQueen has been very good about keeping the character in the physical frame of the film.

Shot 276 – 7 seconds

I love how appalled Bobby looks here. As if he’s actually planning on accepting anything from the guards.

Shot 277 – 7 seconds

Shot 278 – 9 seconds

Priceless expression. And the way Fassbender literally exhales contempt from his lungs… the man is acting, with his fucking breathing pattern.

Shot 279 – 6 seconds

Yeah, definitely can’t see Bobby Sands wearing this outfit in Maze Prison.

Shot 280 – 4 seconds

A brief glimpse in the now clean room of our two former subjects. Their apathy toward the clothes, mixed with Bobby’s impatience in the previous shot, are hints that a storm is soon to fall. Also interesting that the only sound heard in this shot is Bobby’s foot anxiously tapping up and down from Shot 279.

Shot 281 – 5 seconds

The foot taps faster. Here it comes.

Shot 282 – 4 seconds

Nice hidden shot of another prisoner. It’s as if they’re all waiting for Bobby’s signal.

Shot 283 – 5 seconds

The shots are getting shorter now, a great way to increase tension. And then, the mayhem begins.

Shot 284 – 1 second

The following sequence is the most rapidly edited sequence in the film. There are jump cuts within shots, jumps to new characters – it’s absolute bedlam. I’m not going to comment on every shot, but know that the speed in which this scene is cut helps add to the energy of the moment. Also remember that this is the second and only other time Hunger contains a scene cut this way. Most mainstream films are edited this way for their duration.

Shot 285 – 1 second

Shot 286 – 4 seconds

New room, same chaos.

Shot 287 – 3 seconds

And notice how these are the same exact set-ups as the shots that came before. Meaning, this shot mirrors the framing of Shot 282.

Shot 288 – 3 seconds

Shot 289 – 2 seconds

This shot lets us know, through sound only, that many of the prisoners are going ape shit at the same time. McQueen doesn’t show every prisoner that is rioting, he instead lets us hear them.

Shot 290 – 1 second

Same framing as Shot 280 (and 286). Hunger is such a great lesson in the economy of camera coverage.

Shot 291 – 1 second

Shot 292 – less than a second

Back on Bobby.

Shot 293 – 1 second

Shot 294 – 1 second

Even if the shots are short, it’s easy to tell what’s happening because we only see each cell from one angle.

Shot 295 – 1 second

Shot 296 – 1 second

Shot 297 – 1 second

They’re almost out of things to break. So what happens then?

Shot 298 – 1 second

Shot 299 – less than a second

Shot 300 – 1 second

Shot 301 – less than a second

My god, what incredible sound design this movie has. You can hear every piece of furniture crumble.

Shot 302 – 1 second

Shot 303 – 1 second

Shot 304 – less than a second

The film is cutting quickly, but we’re only cutting between four different rooms, so it isn’t difficult to keep track of what’s happening. Again, this helps keep our focus.

Shot 305 – 1 second

Shot 306 – less than a second

Shot 307 – less than a second

The shots are getting very short now. Just a few frames each.

Shot 308 – less than a second

Shot 309 – less than a second

Shot 310 – less than a second

Shot 311 – 1 second

Shot 312 – 1 second

Now the shots are getting a tad longer, suggesting that the mayhem might be slowing down.

Shot 313 – 2 seconds

An empty hallway. This certainly cannot be good.

Shot 314 – 2 seconds

Shot 315 – 3 seconds

Shot 316 – 1 second

The film cuts to black on this shot. Now that the prisoners have flipped out, how proportionate will the guard response be?

Shot 317 – 8 seconds

And now we get a new character. A guard – an assumed rookie, given his youthful appearance – in full-on riot gear. Hell is coming. Also, is he looking into the camera? Hard to tell with the stark lighting. I love that.

Shot 318 – 5 seconds

Shot 319 – 5 seconds

Again, notice how McQueen keeps this new character in frame, no matter what the coverage of the shot entails.

Shot 320 – 3 seconds

Shot 321 – 10 seconds

In this shot, the camera significantly moves for the first time in a while, completing a 360 to reveal how many riot guards there are.

Shot 322 – 3 seconds

Shot 323 – 5 seconds

There he is again, always in frame. By doing this, McQueen is forcing us to assume this guard’s point of view, for better or worse.

Shot 324 – 6 seconds

Christ, what can this be for? And they spit on it too…

Shot 325 – 15 seconds

A brief appearance from the governor.

Shot 326 – 20 seconds

Whenever a guard takes the prisoners’ name cards out of their slots, nothing good is to follow. And notice how long the shots are now. Makes the tension unbearable.

Shot 327 – 16 seconds

Here’s our original guard again. Fresh knuckle bruises to come.

Shot 328 – 3 seconds

Same exact framing as Shot 324.

Shot 329 – 3 seconds

Shot 330 – 3 seconds

Back on our rookie. McQueen never letting us forget who the main subject of this sequence is.

Shot 331 – 18 seconds

Once this guard walks out of frame, this shot lingers on the cells for 8 seconds. The tension is fucking excruciating.

Shot 332 – 5 seconds

Shot 333 – 2 seconds

Our rookie is looking for comfort from a veteran…

Shot 334 – 2 seconds

…yeah, good luck with that.

Shot 335 – 3 seconds

Shot 336 – 4 seconds

When the film cuts to this shot, it does so on the sound of the guards banging their sticks. A perfect transition, technically. And narratively, the deafening sound is haunting.

Shot 337 – 3 seconds

Look how scared he is.

Shot 338 – 6 seconds

The camera slowly tracks backward down the hallway as guards run into frame. Chaos to follow.

Shot 339 – 3 seconds

Love that our rookie is the only guard to scream. Masking his fear with false confidence.

Shot 340 – 4 seconds

Great, centered composition.

Shot 341 – 1 second

Shot 342 – 8 seconds

And then, without warning, it begins.

Shot 343 – 2 minutes 1 second

The longest shot so far in the film is one of the most brutal shots I have ever seen. However, this shot is the moment I was forever linked to the work of Steve McQueen. When I saw this shot for the first time, I sat completely dumbfounded as to how it was being filmed. The blocking of the actors, the movement of the camera, the sound design, the bruising of the bodies. Most any director (including McQueen, in the prisoner riot sequence) would cut frantically during a sequence like this. Instead, he holds the shot for more than 2 minutes, showing us the full beatings of a few prisoners, Davey included. This technique throws us right into the brutality of the scene. A scene that is still one of the most gut wrenching things I have ever watched, but I so admire the way McQueen depicts it.

Shot 344 – 12 seconds

This shot begins on a closed door, but after a few seconds, two guards drop a beaten Bobby onto the floor. Again, what does this tell us narratively? We did not see Bobby get beat up in the previous shot, but he’s clearly just gotten the shit kicked out of him. So, again, McQueen is showing the passage of time using only visuals and editing. It’s really quite ingenious.

Shot 345 – 3 seconds

And he’s down.

Shot 346 – 8 seconds

Our rookie, crying and shaking in a corner. The horror.

Shot 347 – 10 seconds

Here’s an incredible shot that includes one of the view visual tricks in the film. Our rookie on the right is in regular motion, while the guards on the left move in slow motion. It’s a thrilling shot that I haven’t seen done too many times. McQueen is such an organic filmmaker, he rarely includes visual flourishes like this in his movies, but I’m glad he did here.

Shot 348 – 24 seconds

Down, but certainly not out. Also note that the sound has been the same throughout Shots 346-348.

Shot 349 – 9 seconds

Now we’re back with our guard (and outside of the Maze) for the first time in nearly 40 minutes. How intriguing. 

Shot 350 – 19 seconds

Great shot. Starts out as one of the film’s few scenic shots, but transitions into a low angle shot of the driver’s side of the guard’s car.

Shot 351 – 5 seconds

Hard to picture this man buying flowers. But this is the genius of the film. It really doesn’t present outright villains. Even the “bad people” are shown as people with souls, loved ones, and families.

Shot 352 – 17 seconds

See, he’s got a mother and everything. Hunger certainly doesn’t go out of its way to redeem this character, but it does help you understand that if there are prisoners, there must be guards. Now, to the degree in which the guards enforce their power is another story.

Shot 353 – 9 seconds

A rare smile.

Shot 354 – 5 seconds

Few things are sadder than a grown man trying to talk to his mother who is unable to speak. Or does she simply choose not to?

Shot 355 – 8 seconds

The silence. The tension.

Shot 356 – 6 seconds

Shot 357 – 13 seconds

Shot 358 – 2 seconds

This shot, and the one following it, come so quick, I never realize what is happening.

Shot 359 – 1 second

Completely unexpected…

Shot 360 – 1 second

…

Shot 361 – 1 second

Fucking. Boom. I still gasp aloud when I see this.

Shot 362 – 1 second

Love the little turn the guy does with the gun.

Shot 363 – 3 seconds

Her silence speaks volumes.

Shot 364 – 2 seconds

And like that, he’s gone.

Shot 365 – 11 seconds

McQueen cuts the physical violence quickly, but then lets this final shot linger. Ouch.

Shot 366 – 5 seconds

New character, a solemn priest.

Shot 367 – 18 seconds

What could be coming?

Shot 368 – 17 minutes 11 seconds

What’s coming is this. The Shot. The shot to end all shots. The boss of it all. The shot that made Hunger, Hunger. That made Steve McQueen, Steve McQueen. That made Michael Fassbender, Michael Fassbender. Essays have been written about it. Videos have dissected it. All I can do is once again lend my undying appreciation to this shot. And to McQueen for having the balls to hold it for as long as he did. And to Michael Fassbender and Liam Cunningham of executing it so flawlessly.

A few bits of trivia people may not know:

• Cinematographer Sean Bobbitt had to create special magazines of film to capture the shot. Most film mags can only capture 10 minutes of film at a time.
• They shot the scene four times, on the third take, the boom operator collapsed.
• McQueen ultimately used the fourth take.

And one thing I just noticed for the first time. If you speed the shot up, the light on the walls actually does keep changing. It’s hard to tell this when watching the movie in real time, but by ever so slowly shifting the lighting, it subconsciously forces the viewer to stay engaged. This is top tier filmmaking, folks.

Shot 369 – 13 seconds

BAM. We cut in for a super close insert shot of Bobby grabbing another smoke. That cut. That cut feels like a punch to the gut. But, at the same time, like a long exhale of pure release. THAT is editing.

Shot 370 – 4 minutes 53 seconds

For the remainder of the scene (6 and a half more minutes), McQueen uses seemingly conventional set-ups to cover the scene. But, again, there’s nothing really conventional about it. There was the 17 minute master shot, and then there is this one angle of Fassbender, and the one angle of Cunningham. Typically, even for a conversation between two people, you would get medium shots of each subject, over the shoulders, close-ups, and on and on. But McQueen limits it to one shot for each actor. In short, all of this is simply unheard of.

Shot 371 – 34 seconds

Love Father Dom’s expression here. He finally understands Bobby’s plight.

Shot 372 – 23 seconds

Back to the master shot. Wonder if this is still from take 4?

Shot 373 – 32 seconds

“I don’t think I’m going to see you again, Bobby.” The best, most telling line in the film.

Shot 374 – 13 seconds

And a final insert shot to finish things up. I can’t imagine the amount of celebrating that when down on the Hunger set when this day was wrapped.

Shot 375 – 2 minutes 53 seconds

Another cross dissolve: the ashtray slowly fades into the very long shot of a guard mopping up all the piss in the hallway. Of course McQueen is going to hold this shot until the guard has finished. Of course he is.

Shot 376 – 44 seconds

As Thatcher talks again on the soundtrack, we’re privy to the most gorgeous dolly shot of urine ever captured on film.

Shot 377 – 21 seconds

McQueen loves his out of focus shots. It’s such an evocative way to throw us into the mind of the character. And when the sole feather falls into frame, this is McQueen’s suggestion that Hunger will now become an abstract work of art, which lends itself to McQueen’s background as an abstract artist.

Shot 378 – 16 seconds

Bobby’s poor parents. Also love the framed picture of the child on the desk. Again, it’s McQueen’s subtle attempt to not fully demonize those in charge of the prison.

Shot 379 – 6 seconds

It’s so smart to have Fassbender hidden behind the doctor here. As someone tells Bobby’s parents of Bobby’s deteriorating physical condition, we crane our necks to see the actual state of Bobby’s health.

Shot 380 – 11 seconds

This sequence is so difficult to watch in real time, let alone stopping after every shot. The make-up is astounding, and Fassbender’s performance… forget about it.

Shot 381 – 6 seconds

God, those lesions.

Shot 382 – 8 seconds

And the sound of Bobby’s wincing pain as he tries to urinate. So brutal.

Shot 383 – 9 seconds

Again, pay attention to the economy of what the shot is telling us, and how long McQueen chooses to hold it. In other sequences like this in Hunger, each shot was held for the same exact amount of time. But here, McQueen varies the shot lengths, perhaps to keep us on edge.

Shot 384 – 34 seconds

I’m still in complete awe of Fassbender’s physical transformation here.

Shot 385 – 7 seconds

Back in the prison hallway, but now with a slightly more angelic presence. It’s amazing what lighting can do.

Shot 386 – 7 seconds

They don’t even bother to close, let alone lock, his door anymore. He’s far too weak to run.

Shot 387 – 7 seconds

The sympathy on that doctor’s face. My god.

Shot 388 – 9 seconds

This is so difficult to watch.

Shot 389 – 6 seconds

But damn if McQueen doesn’t know how to capture the beauty within the pain. Every shot in this film, even the brutal ones, are marvelously composed.

Shot 390 – 9 seconds

Shot 391 – 7 seconds

This next montage is nearly unbearable to sit through. I just want him to eat so badly, all while understanding why he can’t.

Shot 392 – 10 seconds

Shot 393 – 5 seconds

All of these shots are linked with cross dissolves. They bleed into each other.

Shot 394 – 15 seconds

Shot 395 – 13 seconds

He’s so damn weak he can’t even stand up from the toilet. And the acting from this doctor… I can’t say enough good things about it.

Shot 396 – 3 seconds

Well, no reason for McQueen to let up now.

Shot 397 – 1 minute

Here’s the long, abstract shot in which the camera floats around the room and footage of birds (which I’m not including on this shot list) dissolve over the frame for a few seconds, before fading away. It’s one of the most haunting shots in the film, as if God is toying with Bobby.

Shot 398 – 6 seconds

Eventually, the film does fully dissolve over to this shot, the only shot of birds in this sequence captured during the day.

Shot 399 – 21 seconds

Then we cross dissolve back over to Bobby’s absent bed.

Shot 400 – 5 seconds

The 400^th shot of the film. Bobby Sands on his last leg of life.

Shot 401 – 5 seconds

Can you imagine how many times this doctor is going to have to go through this routine?

Shot 402 – 5 seconds

Now were back to every shot in a sequence being held for the same amount of time.

Shot 403 – 5 seconds

Shot 404 – 22 seconds

They just let him sit in the fucking hallway now, damn near unattended.

Shot 405 – 9 seconds

I can’t believe I never noticed the compassion in this doctor’s eyes until writing this post. It’s remarkable work.

Shot 406 – 3 seconds

Look how the lighting coming through the window just barely flares up the bottom right of the frame. (You can see this in the food shots as well.)

Shot 407 – 7 seconds

And I love that Bobby and the doctor never share a word. After all, what can possibly be said?

Shot 408 – 7 seconds

Shot 409 – 7 seconds

I love point of view shots of mundane things. This is Bobby’s life. Staring at a nothing ceiling.

Shot 410 – 7 seconds

More passage of time with one cut. He’s still staring at the damn ceiling, but now it’s night. (And yep, that’s four shots of equal length in a row. All of this is on purpose.)

Shot 411 – 43 seconds

Now the camera moves along the ceiling, down a crack in the wall, to reveal the 12-year-old Bobby staring back at him.

Shot 412 – 9 seconds

What would you say if you could talk to your 12-year-old self? If you were 12, what would you say to your 27-year-old self?

Shot 413 – 3 seconds

The fluorescent light blinks on, harshly beaming down on Bobby.

Shot 414 – 18 seconds

The sound design of this shot, in which a voice is drowned out to nothing more than ominous sounds of bass, is so telling.

Shot 415 – 17 seconds

Here’s whose voice we (i.e. Bobby) are (not) hearing.

Shot 416 – 7 seconds

Bobby tries to speak, but is unable to. Wonder what he would’ve said.

Shot 417 – 5 seconds

Again, we started close in this sequence, and moved farther away.

Shot 418 – 13 seconds

This poor doctor.

Shot 419 – 9 seconds

Finally relieved of his shift. The look the main doctor gives the new one says everything.

Shot 420 – 4 seconds

We know from the get that this new doctor is callous. The performer’s acting is that good.

Shot 421 – 4 seconds

Without a shred of empathy.

Shot 422 – 4 seconds

Bobby looks over.

Shot 423 – 1 second

And there it is: UDA tattoo. What shit company for Bobby to be in while he’s on his way out.

Shot 424 – 3 seconds

Shot 425 – 6 seconds

Bobby turns his head away, perhaps in disgust.

Shot 426 – 18 seconds

I love how the original doctor has the routine down, lifting his arms to be frisked, opening his mouth to be searched.

Shot 427 – 19 seconds

Yeah, definitely not getting help from this UDA guy. And yet, Bobby is able to stand in defiance.

Shot 428 – 4 seconds

If ever so fleetingly.

Shot 429 – 17 seconds

Finally, Mr. UDA does his job.

Shot 430 – 5 seconds

Shot 431 – 24 seconds

This shot is so long, it’s as if we are literally waiting to watch him die.

Shot 432 – 8 seconds

He’s visited again by his younger self...

Shot 433 – 6 seconds

...each unable to speak.

Shot 434 – 8 seconds

First time they’ve been in frame together.

Shot 435 – 4 seconds

Shot 436 – 7 seconds

I love that it isn’t God visiting him, but rather, his own innocence.

Shot 437 – 13 seconds

Shot 438 – 47 seconds

He’s so frail, he can’t even stand to have a blanket touch him.

Shot 439 – 24 seconds

A final look at Bobby’s parents.

Shot 440 – 9 seconds

The mother, distraught and overcome, the father, despondent if not accepting.

Shot 441 – 34 seconds

This kills me. The parents are actually coming to stay in the prison so they can be with their son in his final hours.

Shot 442 – 8 seconds

Shot 443 – 16 seconds

These shots are so long, but the sequence never feels drawn out. Every frame is of utter importance.

Shot 444 – 19 seconds

Shot 445 – 16 seconds

I love the distortion of this POV shot. Also, again notice the passage of time. In Shot 442, Bobby’s mom was wide awake, and now she’s asleep. Who knows how much time as passed since she kissed him on the forehead?

Shot 446 – 28 seconds

This shot slowly cross dissolves into Bobby’s cross country days.

Shot 447 – 17 seconds

A dream of youth.

Shot 448 – 10 seconds

And it slowly dissolves into a closer shot of the boys.

Shot 449 – 49 seconds

And then we slowly dissolve into the youthful Bobby. Music starts again, for the second and last time in the film. Someone calls Bobby’s name, he turns, but doesn’t acknowledge anyone else. Nor do we see them. It is only Bobby. Exactly.

Shot 450 – 9 seconds

And now he runs. Just like he described to Father Dom. He runs.

Shot 451 – 4 seconds

But what is he running toward?

Shot 452 – 4 seconds

Or is he running away?

Shot 453 – 4 seconds

Shot 454 – 4 seconds

All 4 second-long shots. Symmetry.

Shot 455 – 4 seconds

Shot 456 – 3 seconds

Shot 457 – 14 seconds

And finally, he stops. He stares. But at what?

Shot 458 – 6 seconds

But at what, indeed.

Shot 459 – 8 seconds

Two roads diverged in a wood, and I—

Shot 460 – 4 seconds

I took the one less traveled by,

Shot 461 – 15 seconds

Shot 462 – 8 seconds

And that has made all the difference.

Shot 463 – 7 seconds

Until there’s nowhere else to go.

Shot 464 – 1 second

Back on the birds in the dead of night. A shot foreshadowed all the way back in Shot 44.

Shot 465 – 2 seconds

Shot 466 – 5 seconds

Shot 467 – 7 seconds

And now, here lays a soldier slain.

Shot 468 – 58 seconds

The final shot, in which we see Bobby’s lifeless body be transported into the back of a car. His last spoken words in the film, uttered 22 minutes ago, were, “There’s no need, Dom.” There’s no need.