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I'm always amazed by Nolan's masterful use of cinematography as a story-telling device such as with these two images. Take note of CIA in front of the plane. It is a well balanced shot where man and horizon form perfect quadrants on the frame. Together they act as Cartesian axes, intersecting to create an origin around which the rest of the world is ordered. This is clearly an image of a man who thinks he's in control. The following shot supports this by contrast where we see the hired guns in a car blindfolded and disoriented. The camera shakes violently and the horizon is askew. This is a shot of men who are not in control. For the next minute of dialogue CIA maintains his mask of composure as he orders his men and interrogates his captives. It's not until the staged killing when a double-masked Bane questions the reality of what his senses perceive. Bane rejects the world that CIA had built around the captives and this quite literally shakes his foundation. CIA stumbles for the first time in this moment, partly rustled by the turbulence, partly taken a back by Bane's ability to speak, but primarily shaken by the tremors of the crumbling system of order he had built and maintained in the figurative image of the Agency. As CIA and Bane converse face to face it is Bane who remains steady, whereas CIA shakes in frustration as he struggles to restore order with idle threats. It is then that we see the second plane approaching the first, both of which take on an axial form (plane) from the wings and fuselage. The one "plane" flips the other, turning CIA's world upside-down. In the midst of chaos and a broken system Bane establishes himself as a new order, pic related. With his heart at the origin, his body becomes the vertical and horizontal axes, and all space around him is a new Cartesian plane risen from the ashes of CIA's order and metric. As the shell of an old world drops away orientation and verticality is restored.
