Everything between Django and Hildy. They clearly have that operatic level of mutual love—he would walk through hellfire for her, and she will wait till the end of time for him.
"It's me, baby." That look of utter joy and relief on her face is a welcome sight considering all the horrors the two lovers have faced so far.
They call each other Little Troublemaker and Big Troublemaker. The nicknames aren't explained or in any way elaborated upon, but their mere existence suggests the depth of the connection between the two.
The friendship between Django and Schultz. The last time Django sees Schultz or at least his corpse, he tells him "Auf Wiedersehen" — which, as Schultz has pointed out, means "Until we meet again".
Especially when Django is simply marvelling that a white man like Schultz is treating him as an equal.
An unusual one but when Schultz is aiming at Big Daddy, he notices Django watching him eagerly. He turns to him and hands him the rifle for him to use. It feels a lot like a father letting his son shoot. A highly irregular father-son relationship but a heartwarming one regardless.
Also Schultz admitting that he experienced a newfound sense of responsibility after buying Django's freedom, which made him genuinely concerned about his welfare.
Schultz telling Django the epic tale of Brunhilde and Siegfried, and how Siegfried earned his happy ending by rescuing Brunhilde. Schultz considers it his duty as a German to help Django find his Broomhilda.
And the whole time Schultz is telling the story, Django is sitting by his feet listening and asking questions like an eager little kid, adding to the father-son relationship. Awww...
After taking Django to the saloon, Schultz pours him a beer and immediately makes it clear to Django that he hates slavery, cementing their relationship early on as one of partners and equals.
When Schultz speaks to Broomhilda in his room, she is clearly on edge, no doubt assuming she is about to be raped. However, throughout the entire scene, Schultz treats her very kindly, pouring her a drink, and chatting amicably with her in German. He then reveals that he's there to help her escape and seems genuinely happy at the prospect of reuniting her and Django. For someone who has no real reason to care, it's clear Schultz is invested in seeing his friend rescue his wife.
A nice touch in this scene is that he has dressed down for her arrival to fool the other Candielanders into thinking that she's there for his pleasure, but the second they're alone, he begins re-dressing, even apologising that he's misplaced his tie, just to make sure she's aware he doesn't want...that.
Right before he shoots the sorry bastards who had him killed, Django shouts the name of the poor slave whom they killed with their dogs so the bastards know exactly who he is avenging before they die. Granted, it's a horrifically violent scene, but it also proves that Django really did care about seeing a fellow slave suffer a horrible death, even though he had to pretend not to.
Whenever Django did a first as a free man and the innocent look on his face was adorable. For example, when he had a drink of his first beer, or when he got to pick out his own clothes and when he learned to read.
We see Django stick an empty bottle into a pile of snow in order to practice his quick-draw skills. We see him shoot it dead on. The camera pulls into a wideshot. We discover that Django had inserted the bottle into a snowman. Django and Schultz built a snowman together.
The smile on that one slave's face after Django kills the mine's slave drivers and rides back towards Candieland. It's just such a contrast to the sullen Death Glare he gave Django earlier when he believed he was just another slaver. You can see Django's earned his respect.
Even though he's a racist prick who was there to help kill Schultz and Django, it was kind of nice to see that one proto-KKK member getting pissed at the other members for badmouthing his wife's hard work on their hoods and storming off in a huff.Even Evil Has Loved Ones.
Franco Nero's cameo. If you didn't already think this thing was a love letter to Westerns, that sealed it.
Django: The "D" is silent.
Django: I know.
Excluding Schultz's friendship with Django and Broomhilda, the scene at the beginning where Schultz treats the other slaves he has no personal interest just as well as Django. He politely thanks one for raising the lantern to help him write, treats them as credible witnesses in a time where the word of a black man would count for nothing, and frees them when he leaves with Django. Just to show not every white man in that movie was a racist bastard.
Right at the end, Django has a flashback to Schultz telling him that he's going to be "the fastest gun in the south". This is heartwarming for two reasons; one, it shows just how much respect and hope Schultz has for Django. Two, it means that the last image we have of Schultz is the fatherly mentor, rather than the pathetic, huddled corpse that had just been tossed aside in a shed with its face turned to the wall.