The Creative Use of Overhead Shots – Framing the Story from Above

MZed Education

by Mascha Deikova6 days ago

Wouldn’t it be great if we could always take a look from above and observe our situation from a different perspective? In films, this is possible – namely, with overhead shots, also known as top angle shots, top shots, top-down, bird’s eye view, or god’s eye view. They are not easy to execute but oh-so-powerful in framing the story. This camera perspective has been around for a long while, yet filmmakers still find creative ways to use it. (If you watched the meticulously choreographed opening shot of the recent film “The Substance” that made a lot of noise, then you know what I mean). Let’s analyze some of the incredible overhead shots together – from the prominent to the newest ones – and find out how they enhance visual storytelling.

The great thing about overhead shots is that they can be used in a huge array of scenarios where various impacts are wished for. No, they are not just a comprehensive establisher perspective. Neither are they merely a fancy trick or eye candy. Below, we will show exactly how they work on an emotional level, as well as how they affect our unconscious perception. So, fly along and try to observe everything from above, just like an overhead shot does.

What is an overhead shot?

The answer lies in the name of this camera perspective (or rather, names in the plural, as we have already mentioned several variants above). To be absolutely clear, though, let’s settle on a common definition. In the MZed course “Fundamentals of Directing,” seasoned director and educator from the International Film Institute of NY, Kyle Wilamowski, offers the following:

A bird’s eye view is a shot in which the camera is directly above the subject, looking straight down on it, as if it were from the viewpoint of a bird.

Imagine a classic high angle where the camera is above the eye line of a character. Now, take the camera higher, place it above their head, and turn around until it reaches 90 degrees, pointing towards the floor. Here’s your overhead shot.

While the advancement of drones offered a new (and much simpler) way to frame a top-down, a lot of filmmakers still rely on traditional equipment. Shooting an overhead means a lot of rigging and creative challenges, from safety precautions and scheduling matters to location limitations. Also, a bird’s eye view is a peculiar perspective for the audience, which may often lead to a strong reaction. Thus, if you decide to frame a top-angle shot, you need to know why it is necessary for the story. Why, indeed?

Overhead shots for complex movements

The first and most straightforward reason for using an overhead shot might be to orient the viewers in space and complex action. This approach reminds us of the third-person perspective, familiar to us from video games. It crafts some emotional distance to what’s happening on screen and, at the same time, allows us to follow the meticulous choreography and not miss a beat. As an example, here is an already famous shotgun fight from “John Wick: Chapter 4,” that came out in 2023:

With one long take, overhead perspective, and smooth camera movements, this scene is almost woven from the video game aesthetic, right? That didn’t happen by chance. The whole world of the thriller franchise about a legendary hitman has this look and feel, so it’s no wonder it inspired successful games as well.

Of course, it’s not the only instance of using this tool as a stylization element, especially in fights. If you need a more “legendary” example, there’s always Quentin Tarantino’s “Kill Bill.”

Dreams and altered states of mind

As we already discussed above, overhead perspective doesn’t really feel natural to us humans. We just don’t experience it often enough in real life unless it’s a dream world or an altered state of mind, where every weird angle suddenly becomes possible. Have you guessed what iconic movie scene is a perfect example here? This one from “American Beauty,” naturally.

The protagonist, Lester, portrayed by Kevin Spacey, goes through a midlife crisis and has sexual fantasies about his teenage daughter’s best friend. He lies in bed and stares at the ceiling, but we see this young cheerleader from his dreams instead of the ceiling. She is forbidden fruit to him, but who can discover what happens in his head? The audience can. Both overhead shots here suggest that we’re inside his imagination. Apart from that, they are a truly elegant visual tool that shows how people dream. When we are close to falling asleep, we see vivid images in front of us, don’t we?

Another example of implying a dreamy sequence is from the movie “Requiem for a Dream.” Here, though, the reason for the top-angle shot is different: It reflects the characters’s drugged state of mind:

It could have been a classic romantic scene with an expression of love and gratitude, but we all know too well how Harry and Sarah’s relationship ended. This overhead shot is rather disorienting for the audience. The camera spins as their heads spin and as their thoughts spin around, far away from reality.

Achieving objective perspective with overhead shots

In films, as in literature, there are different types of narration that can be divided into two larger groups: subjective and objective (head over here to read more on this topic). We become emotionally involved in their story when we stay close to the characters’ faces and observe their reactions. However, sometimes, it’s better for the film if you let your viewers disconnect and take an objective perspective instead. That’s where an overhead shot might also be a huge help. It works like stepping back and suddenly looking at the situation from a new, unexpected angle. The more distance you gain, the easier it becomes to objectively judge the characters’ choices. Take a look at this film still from “Fargo” by the Coen brothers.

We analyzed this shot once regarding its lack of motion and negative space. But what does the deliberate choice of the top-down angle tell us here? We see the main character as he is: reaching the crossroads, both in the frame and his story. The audience gets a moment to step back and realize what he has done – ordering the kidnapping of his own wife to manipulate his father-in-law, only to fail in calling the whole thing off!  

Overhead shots – empowering the character

The angle of the camera can help to emphasize the power play in the scene. The rule of thumb here is that seeing someone from below makes them mighty and important. And vice versa: When the camera looks down at a person, they seem small and weak. However, that’s not the case with overhead shots (at least, not always).

In “Fundamentals of Directing,” Kyle demonstrates the following shot from “The Shawshank Redemption” as an example, achieving the opposite effect. What do you feel when you look at it?

Freedom. The character has just escaped from prison. Previous to this scene, he has actually crawled out of the ground. And now, here he stands, under the pouring rain, reaching towards the heavens! It feels good and empowering, and we share his elation as he looks up to us, and we look down on him.

Another example where top shots become a tool to empower the character is seen in the series “The Queen’s Gambit,” in my opinion. There, the main character, Beth Harmon, also sees things on the ceiling, but they are not dreams. They are her great gift. All the possible chess combinations play out above her head (and inside it), allowing her to win one game after another. In the final and the most important chess match, this visual element with all the light and halation feels even transcendent, as if she has gained some connection to the divine:

Connection to the divine

Speaking of that, it’s not a coincidence that overhead shots are also called the god’s eye view. They can surely create a feeling in viewers that there is a connection to God, the universe, the divine, or some other higher force. This feeling becomes especially strong in scenes where the characters are dying. For instance, take a look at the famous last shot in this “Blade Runner 2049” scene (starting from 01:48):

It’s the end of K, portrayed by Ryan Gosling. He lies on the steps under the falling snow, and then we see him from above as if his soul leaves him. It’s also a visual point to the film’s central discussion, whether or not the replicants are human, can feel, and have a soul. There is no doubt that they do.

A further movie example where creators use overhead shots to a great extent is “Midsommar.” In this folk horror film, top angle perspective also suggests a connection to some higher force, as it is used to depict all the rituals (including death, birth, sex, and so on). No worries, I’m including only the decent stills, but if you haven’t watched this film, please do. It’s a masterpiece on its own.

Let the time pass by

Coming back to the opening scene from “The Substance,” I think it speaks for itself. The single overhead shot tells us the backstory of the protagonist, Elisabeth Sparkle, without any commentary or exposition, just one image and the choreography around it. It’s Elizabeth’s walk of fame: from becoming successful and the crowd’s darling to fading with time and losing any meaning. In the end, it’s just a rusty star, impregnated into the asphalt, which people occasionally drop their hotdogs:

From this perspective, her fame feels absolutely meaningless in the grand scheme of things, as in any human’s journey. Time flies by, and at some point, we all become dust. If you want to imply this message in a scene, the top-down perspective should definitely be on your list of visual choices.

These were just some of the effects that overhead shots are capable of accomplishing. We could go on and on, but let’s continue in the comments instead! Why would you use a bird’s eye view perspective in your movie or video? Do you have other favorite film examples that have a different impact? Please share them with us in the comments below!

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Feature image source: a collage of film stills from “Requiem for a Dream” by Darren Aronofsky, 2000; “American Beauty” by Sam Mendes, 1999; Neflix’s series “The Queen’s Gambit”, 2020; and “The Substance” by Coralie Fargeat, 2024.