The cinematic shot is the fundamental visual unit in film, defined by camera distance, angle, movement, and stasis. Yet this technique has transcended cinema to feature prominently in contemporary poetry, where poets borrow framing, zooming, panning, alignment, and occlusion to produce visual scenography that redefines the reader's relationship with the text. This study investigates how Al-Saqqawi employs various cinematic shots in his collections, their role in shaping meaning and visual scenography, and how his architectural background shapes his visual distances and framing angles. Through a descriptive-analytical method, the study traces these shots in his texts, analyzing them as structural mechanisms interacting with his major themes: resistance, Omani identity, and nature. The findings reveal six distinct shot types distributed deliberately: close-ups capture facial, hand, and wound details; medium shots delineate subject-object relationships; long shots open the scene onto geography and history; point-of-view shots convey interior vision; visual parallelism shots create symmetry; and mask shots deconstruct and reconstruct identity. The poet's architectural background clearly informs his framing: he treats poetic space like an architect treats area—defining entrances and exits, distributing masses, and regulating rhythm between fullness and void. These shots transform the reader from listener to participant-observer, converting the poem from linear narrative into a multi-layered scene, making Al-Saqqawi's experience a distinctive model in contemporary Omani poetry for the convergence of word and cinematic image. By examining Al-Saqqawi's poetry through a cinematic lens, this study enriches the critical discourse on intermediality in contemporary Arabic literature. This approach also opens new comparative avenues in Arabic poetics.