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Film goofs - page 25

Dhliz records thousands of goofs spotted across a great many films. You can read through them here:
لصوص لكن ظرفاء (1969)
When Hanifa kisses Hamed before leaving, her hand is on his cheek, but in the next shot it is on his chest.
لصوص لكن ظرفاء (1969)
When Ismail asks Hamed about the chances of the operation succeeding, his arms are in front of his chest and his hands are not visible, but in the next shot both hands are visible from the front.
لصوص لكن ظرفاء (1969)
When Hamed sits at the table in front of Ismail, he puts a cigarette pack and a lighter on it, but two shots later only the pack is there.
لصوص لكن ظرفاء (1969)
After Ismail falls onto the bed, one shot shows his leg behind the front wooden part of the bed, but two shots later, when Hanifa comes to him, his leg is in front of the wood.
لصوص لكن ظرفاء (1969)
When Ismail lies down on the bed, one shot shows one hand on his chest and the other on his mouth, but in the next shot both hands are beside him on the bed.
لصوص لكن ظرفاء (1969)
When Hanifa comes to Ismail's house and sits down, one shot shows her smoking, looking serious, with her hand at her side; in the next closer shot, her hand is raised and resting on the chair arm, the cigarette smoke has disappeared from her mouth, and she is smiling broadly.
لصوص لكن ظرفاء (1969)
In many shots, the sound does not match the mouth movements.
لَسْتُ قاتلًا (1989)
During Farid Shawqi's conversation with The Counsellor at the club, when he says, “the years fly by,” the next closer shot shows sun shadows on Farid Shawqi's clothes, although they were not there in the previous shot.
لا تسألني مَنْ أنا.. (1984)
When Zeinab sits beside Aisha to persuade her to let her daughter marry, the microphone's shadow can be seen moving on the wall with the camera.
لا أنام (1957)
In the shot where the camera moves in on Nadia in the dining room alone as she thinks about what she did to her stepmother Safiyya, the chandelier's shadow can be seen moving on the wall with the camera.
لا أنام (1957)
When Ahmed tells Nadia that he lived without marriage for her sake (while they are in the car), we see her looking at him, but in the next shot (from Nadia's side) she is looking forward.
الكيت كات (1991)
In the final motorcycle-driving scene, the lighting on both Sheikh Hosni and Youssef remains constant, even though it should change because of the driving and the changing positions of the streetlights at night.