When I began pre-production on the film, cinematography was the first thing on my mind. I often read a section of the script and would immediately begin constructing the shot list in my head. Visual storytelling is as challenging as it is rewarding. Every scene requires careful consideration of the power dynamics between characters, and the camera position must be adjusted to reflect and reinforce those relationships.

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I drew inspiration from many films, but I was particularly interested in pursuing a 1970s aesthetic. That meant embracing slower-paced shots, deeper shadows and darkness, deep focus, and occasionally allowing the camera to take unconventional positions when the story called for it.

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At the same time, I tried to remain grounded in the fundamentals of classical filmmaking. The book The Five C’s of Cinematography by Joseph V. Mascelli served as my guide throughout the process. Once you begin to understand visual storytelling as its own language, the shots start to fall naturally into place.

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It was always my goal that the audience could follow the film even with the sound turned off. Every image needed to communicate something. The compositions were not only meant to be aesthetically pleasing, but also to convey the emotional state of the characters, especially Coy, whose perspective guides the audience through the film.

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I drew particular inspiration from the cinematography of films such as Klute by Alan J. Pakula, Citizen Kane by Orson Welles, Seconds by John Frankenheimer, and Yi Yi by Edward Yang.

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I wanted to give the audience time to settle into the world of the story and fully experience each moment. My goal was for viewers to feel the awkwardness of a scene, the pain that Coy experiences, and to feel like a sixth person sitting in the room with the characters.

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Because of this, every close-up had to be earned. I often favored two-shots, three-shots, and wider group compositions over singles, allowing the audience to absorb the energy of the room and the relationships unfolding within it. This approach allowed the camera to observe the characters rather than dominate the scene.