The shot to the right is a shot of Lynne, one of her clients and Bud White from L.A. Confidential. This shot is a close up, with the focus on Lynne who is in the center. Bud White who is standing outside of Lynne's door is turned so that we can only see the back of his head. The depth of field of the shot makes him blurry. Sunlight is illuminating the scene and we can clearly tell that this moment takes place during the day time. The only shadow in this frame is a slight shadow that the door casts on the side of Lynne's face.
The image to the left is a full shot of Phyllis in Double Indemnity. This shot is at an extremely high angle, almost at a bird's eye view. We see Phyllis approaching her front door to let Walter inside. The frame is dark here are a lot of shadows. The only place light is coming form are the three lamps in the shot that cast shadows on the wall and floor. Phyllis is the main focus of this frame, her all white outfit stands out in her dark surrounding and contrasts her big, dark front door.
In both of these still shots, the femme fatale of each film is the main focus. Both of the women are opening the doors of their homes ton the main male characters of each film, however Phyllis is alone and Lynne is surrounded by the men in her doorway. In Phyllis' shot, the door is huge and ominous against her figure whereas in Lynne's shot it seems that the door is not much larger than she is. Even though the door towers over Phyllis her body language and strong posture as she walks to the door makes her look much stronger and more independent that Lynne who is hiding behind the door.
