Carnal Knowledge (1971)
Directed by Mike Nichols · Cinematography by Giuseppe Rotunno
R98 min59 frames
DramaRomanceComedy
Its time has come.
Stills, screencaps & shots from Carnal Knowledge
16 of 59 frames — the full set is searchable by lighting, lens, shot size, color and mood with a free account.
















Carnal Knowledge — official trailer
What is Carnal Knowledge about?
Two lifelong friends navigate complex sexual encounters and emotional entanglements, wrestling with societal norms and personal desires.
Where can you watch Carnal Knowledge?
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US availability for Carnal Knowledge (1971). Data by JustWatch, listings on TMDB. Availability changes — check the provider for current listings.
Who stars in Carnal Knowledge?
Who made Carnal Knowledge?
What does the cinematography of Carnal Knowledge look like?
Sampled across 59 frames, the coverage of Carnal Knowledge leans on medium shots (53% of the sample) and close-ups (29%). Cinematographer Giuseppe Rotunno keeps 56% of it in soft, low-key light. Night and dusk account for 63% of the frames. Focus stays shallow in 73% of the frames, isolating subjects from their surroundings. The production design places the film in the 1970s.
What is the color palette of Carnal Knowledge?
The dominant colors across the sampled frames of Carnal Knowledge (1971) are #342e2b, #131110, #55524c, #f9f8f7, #251913, #d6d1c9 — measured from the per-frame color data FrameThrower extracts for every film.
#342e2b#131110#55524c#f9f8f7#251913#d6d1c9
See the full Carnal Knowledge colour palette — every hex with its share, plus warmth, saturation and luminance.
A reference database for filmmakers
FrameThrower is a fully machine-searchable film database and visual reference library — all 59 frames of Carnal Knowledge (1971), and 5,000+ films besides, indexed frame by frame and readable by AI. Search it in plain language, from a reference image, or by colour; call it from an API, an MCP server or an SDK. It's the reference layer for making the next movie.
Techniques in this film
More films by Mike Nichols
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