3:04
3:16
In introduction to the church, Logan stands in front of the altar framed symmetrically.
REL01-Altar
3:32
3:32
View down the pews, deep in shadow once again framed symmetrically
REL02-Pews
3:40
3:48
Once Logan decides to walk into the darkness, the shots looking down the pews are no longer symmetrical implying, an imbalance
REL03-Into Darkness
5:44
6:12
Keller tells Logan of the murder and the imprisonment of the characters is shared through the grated light cast on Logan and the bars in front of Kellers face. Additionally, the name placard on the confessional implies that it should be a place of safety, instead it directs us towards the primary conflict of the film of Logans internal quandry.
REL04-Keller and Logan
18:12
18:12
Shot of Keller standing next to a small cross.
REL04-Small Cross
25:01
25:19
Keller and Alma speak, with their figures divided on screen behind a crucifix and candlestick holders.
REL05-Crucifix, Keller and Alma
19:38
20:07
Sequence in Willy's office, absent of any religious iconography where he has poured himself a glass of wine, then lightens up when Larrue mentions "girls."
REL06-Willy's Office
25:30
25:44
A brief look at Larrue's office which is almost completely empty.
REL07-Larrue's Office
31:07
31:13
One angle of Pierre's home with recurring thematic elements of secular space.
REL08-Pierre's Home 1
31:34
31:38
Shot of another angle of Pierre's home.
REL09-Pierre's Home 2
33:55
33:55
Still of another angle of Pierre's home.
REL10-Pierre's Home 3
51:41
51:49
Pierre and Ruth's wedding reception is shown, but only at the hotel, not at the church.
REL11-Wedding Reception
36:41
36:41
Shot of Monks walking by Ruth on the ferry (they appear 3 times over 1 min. 20 sec. sequence).
REL12-Monks
37:47
37:47
Monks appear again behind a policeman.
REL13-Monks and Policeman
37:57
37:57
Monks walk by in projected background.
REL14-Monks in Background
68:04
68:12
Logan walks along sidewalk with crucifixion scene in the foreground (mirroring his own trial). He then enters the cathedral with churchly music in the background.
REL15-Entering Cathedral
71:42
71:42
Keller appears on the stand with crucifix in the background.
REL16-Keller on the Stand, Crucifix
76:14
76:34
More overt shot where Logan appears on stand with crucifix in the background, struggling with his convictions.
REL17-Logan on the Stand, Crucifix
82:51
83:10
Jury foreman with crucifix hanging over his shoulder, cut with reaction shots.
REL18-Jury Foreman, Crucifix
93:39
94:12
As Logan holds the dying Keller, Keller says "forgive me" a direct reference to the persistence of religious iconography.
REL19-"Forgive me"
0:52
0:52
Still shot of the Hotel in ominous shadow with the title I Confess placed over it as the camera slowly drifts towards it.
CIT01-Title, Hotel
94:21
94:21
In the final shot, the shadowy hotel is once again shown ominously.
CIT02-Final Shot, Hotel
1:26
2:00
Shots of the city (including Hitchcock, but no one else) cast in shadow, ominous and empty.
CIT03-City Shots, Hitchcock
3:00
3:00
Logan looks out of the window with a reflection of the church dome in the window.
CIT04-Window, Church Dome
12:33
12:54
Logan walks through park with composition of of city background tilted to the left followed by a shot of the sidewalk outside of the the lawyer's house tilted slightly to the right, both of which prominently feature the architecture and crowds/pedestrians.
CIT05-Logan in the Park
23:05
23:29
Montage of the city churches, shot at canted angles, intermixed with interview with priests.
CIT06-Church Montage
67:45
67:59
Car driving along fort-like city wall.
CIT07-City Wall
86:21
86:31
The crowd/city become equalized through wide angle showing them scattering, along with "Direction" sign pointing into the Hotel in the background.
CIT08-Crowd
93:04
93:30
Keller asks Logan, "What has happened to your friends father?", a direct reference to the fickle nature of society.
CIT09-Keler and Logan
17:59
18:13
Keller discusses the lawyer's murder and Logan's legs are shown in the background, still and emotionless, followed by a short reaction shot of the back of Logan's head.
SHA01-Logan's Legs, Head
34:04
34:28
Pierre and Ruth argue about Logan and are obstructed by foreground objects after they force each other to face the issue.
SHA02-Pierre and Ruth Argue
35:16
35:30
We see Ruth grab the phone, but we can't see her face as she asks for Father Logan.
SHA03-Ruth on the Phone
56:15
56:44
Ruth sees Villette at the church, then at restaurant (but he is not shown in this part of the sequence), and finally at parliament (but he is only seen from behind and in profile).
SHA04-Ruth Sees Villette
2:02
2:26
Street signs direct the viewer towards the body of the victim.
SUB01-Street Signs
9:49
9:56
Logan walks down the hallway, then in implied POV sees Alma and turns, but when it cuts back to Logan he hasn't turned around the corner yet.
SUB02-Logan in the Hallway
24:23
24:32
Keller walks away in what appears to be a following POV, but Logan is looking down in the following shot so couldn't be looking at him.
SUB03-Keller Walks Away
53:43
53:54
Logan points, through the rain, toward a Gazebo in implied POV, but he then enters the POV shot.
SUB04-Logan Points
84:56
85:29
Logan looks at crowd in implied POV, then up at the Hotel in a canted low angle (with spectators hanging out of the windows), then he walks into the previous "POV" shot.
SUB05-Logan Looks at the Crowd