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Pusher II (2004)

Directed by Nicolas Winding Refn · Cinematography by Morten Søborg

100 min37 frames

ActionCrimeDrama

With blood on my hands.

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Stills, screencaps & shots from Pusher II

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

Pusher II (2004) movie still: closeup — A dark, cramped space is flooded with intense monochromatic red light. A muscular, shirtless man extends his…Pusher II (2004) movie still: medium — A dimly lit room is illuminated by a uniform red light source. A shirtless man stands in the foreground as…Pusher II (2004) movie still: medium — A dimly lit bar is saturated in an intense, overwhelming red neon light. Two men sit at the wooden counter…Pusher II (2004) movie still: wide — A domestic kitchen with wood cabinets and a light wooden table holds three individuals. One woman holds a baby,…Pusher II (2004) movie still: medium — A dimly lit room is illuminated by a vertical string of warm red lights. Two women sit closely together while…Pusher II (2004) movie still: medium — A man with a shaved head sits in a darkened room with blue walls. He stares downward while seated at a desk…Pusher II (2004) movie still: closeup — A man stands against a pitch black backdrop with no visible environmental features. His head and shoulders…Pusher II (2004) movie still: medium — An interior shot shows a doorway leading to a dim, cluttered bedroom space. A bald man wearing a sling stands…Pusher II (2004) movie still: medium — An interior office space with a large window looking into a vehicle repair area. A man sitting on a leather…Pusher II (2004) movie still: medium — A dimly lit room with walls washed in deep red light features a framed art piece. A bald man wearing a black…Pusher II (2004) movie still: wide — A modern room features a large window wall overlooking a distant highway landscape. Four men stand and sit on a…Pusher II (2004) movie still: medium — A man sits inside the darkened cabin of a vehicle at night. Green neon light reflects onto his skin while he…Pusher II (2004) movie still: closeup — A man sits before a bright window inside a public establishment during the day. He faces off-screen while…Pusher II (2004) movie still: medium — A nighttime city sidewalk illuminated by harsh, golden-hued artificial lighting from nearby street lamps. A…Pusher II (2004) movie still: medium — A bald man sits in a subway train traveling through a dark tunnel. The carriage interior is bathed in a…Pusher II (2004) movie still: medium — Interior of a bus at night featuring rain-streaked windows showing blurry city street lights. A man with a…
Pusher II (2004) — © NWR Film Productions

Pusher II — official trailer

What is Pusher II about?

Tonny is released from prison - again. This time he has his mind set on changing his broken down life, but that is easier said than done.

Where can you watch Pusher II?

US availability for Pusher II (2004). Data by JustWatch, listings on TMDB. Availability changes — check the provider for current listings.

Who stars in Pusher II?

Who made Pusher II?

What does the cinematography of Pusher II look like?

Sampled across 37 frames, the coverage of Pusher II leans on medium shots and wide compositions. Cinematographer Morten Søborg keeps almost all of it in soft, low-key light. Night and dusk account for most of the frames. Focus stays shallow in most of the frames, isolating subjects from their surroundings.

What is the color palette of Pusher II?

The dominant colors across the sampled frames of Pusher II (2004) are #090a05, #31302c, #2a0201, #890000, #470000, #ff0000 — measured from the per-frame color data FrameThrower extracts for every film.

  • #090a05
  • #31302c
  • #2a0201
  • #890000
  • #470000
  • #ff0000

See the full Pusher II 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 37 frames of Pusher II (2004), 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

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