Rashomon

Holy sh*t! That last tracking shot, starting with the square within a square, the outer being the film frame (yes, Academy ratio is not exactly square, bear with me!), the inner being the doorway of the gate with the sky filling the door, blown out almost pure white, the priest and the woodchopper standing there silhouetted against that white sky in the doorway, perfectly positioned at corners of the rule-of-thirds within that inner square, turning to each other, bowing to each other one more time, the woodsman walking towards the camera and the camera pulling back to follow, with the baby, that symbol of hope and faith, in the woodsman's arms, and the priest staying behind still silhouetted clearly against the white sky within the doorway, always visible as the woodsman continues walking, never disappearing behind the woodsman so the eye always seems him subconsciously, even as the focus is on the woodsman's hopeful smile as he walks further away from the gate, then the realization that the entire gate is entering the frame, the priest, becoming ever-smaller as the camera pulls back, slowly moving into position at the bottom right rule-of-thirds position as the camera moves, the gate entering from the top left, the woodsman continuing his walk, until he dominates the entire top left of the frame, the bright white square of the silhouetted priest perfectly placed at the lower right rule-of-thirds position, then the camera stops and the woodsman walks out of the frame, revealing a perfect composition of gate and priest, symbolizing hope and faith for a new day, a rebirth, as the priest looks on.

Un-f*cking-believable shot! I don't know if Kurosawa was responsible for that, or Miyagawa, or a little of both, but it was envisioned beautifully and executed perfectly. That is how a movie with that type of message should end!!