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All or Nothing (2002)

Directed by Mike Leigh · Cinematography by Dick Pope

R128 min37 frames

Drama

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Stills, screencaps & shots from All or Nothing

16 of 37 frames — the full set is searchable by lighting, lens, shot size, color and mood with a free account.

All or Nothing (2002) movie still: medium — The interior of a car shows a man seated in the passenger seat. He looks toward the window while traffic…All or Nothing (2002) movie still: wide — A utilitarian concrete exterior stairwell of a mid-century building showing signs of age. A young person…All or Nothing (2002) movie still: medium — A cluttered living room features a patterned sofa, a wooden shelf, and speakers. A woman sits on the…All or Nothing (2002) movie still: wide — An exterior view of a grey concrete apartment complex with external balconies. A young woman stands on the…All or Nothing (2002) movie still: wide — A long, dimly lit institutional corridor has pale green walls and a wet tiled floor. A woman in a white…All or Nothing (2002) movie still: closeup — A man sits in the driver seat of a vehicle during the day. The man gazes forward while his hands grip…All or Nothing (2002) movie still: medium — An institutional hospital corridor features light green walls and a wooden exit door. A middle-aged man…All or Nothing (2002) movie still: closeup — A woman stands in front of a plain, dull-colored interior wall. She is positioned slightly to the left…All or Nothing (2002) movie still: medium — A dark, cluttered space with a wooden headboard and a black metal shelving unit. A woman rests in bed…All or Nothing (2002) movie still: medium — A brightly lit interior space with glass partitions and wood-framed walls. A man and woman sit next to…All or Nothing (2002) movie still: medium — A dark outdoor space flanked by a textured brick wall and wooden fence slats. A man and a woman stand…All or Nothing (2002) movie still: medium — A cramped, dimly lit workspace features a wooden desk with papers and an telephone. A bald man leans…All or Nothing (2002) movie still: fullbody — A woman stands on a sparse dirt riverbank near a concrete mooring bollard. Across the water, a distant…All or Nothing (2002) movie still: closeup — The subject stands in a dimly lit, nondescript indoor space with olive-grey walls. A man with thinning…All or Nothing (2002) movie still: medium — A dimly lit room with a subject lying under floral patterned bedding. The subject is propped against…All or Nothing (2002) movie still: medium — A busy checkout area in a grocery store with rows of registers and fluorescent lights. A cashier wearing…
All or Nothing (2002) — © StudioCanal, Les Films Alain Sarde

All or Nothing — official trailer

What is All or Nothing about?

Penny works at a supermarket and Phil is a gentle taxi-driver. Penny’s love for Phil has run dry and they lead joyless lives with their two children, Rachel, a cleaner, and Rory, who is unemployed and aggressive.

Where can you watch All or Nothing?

US availability for All or Nothing (2002). Data by JustWatch, listings on TMDB. Availability changes — check the provider for current listings.

Who stars in All or Nothing?

Who made All or Nothing?

What does the cinematography of All or Nothing look like?

Across 37 sampled frames, All or Nothing builds its coverage from medium shots, with wide compositions carrying much of the rest. Cinematographer Dick Pope keeps most of it in soft, naturalistic light. Daylight carries most of the picture. Focus stays shallow in most of the frames, isolating subjects from their surroundings.

What is the color palette of All or Nothing?

The dominant colors across the sampled frames of All or Nothing (2002) are #33332c, #54504a, #aea593, #777267, #d4d2c9, #94958a — measured from the per-frame color data FrameThrower extracts for every film.

  • #33332c
  • #54504a
  • #aea593
  • #777267
  • #d4d2c9
  • #94958a

See the full All or Nothing colour palette — every hex with its share, plus warmth, saturation and luminance.

A reference database for filmmakers

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Techniques in this film

More films by Mike Leigh

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