True to Doremus's style, the film features intimate, handheld cinematography and a soft, atmospheric palette that mirrors the characters' internal states.

For Martin, the openness breaks him. He realizes that his desire for "newness" was a coping mechanism for his depression. For Gabi, it highlights that while she craves novelty, she cannot handle the reality of Martin finding it elsewhere. The scenes involving their trysts with others are shot with a cold, clinical distance, contrasting sharply with the warm, handheld intimacy of their scenes together. This visual language argues that while the "new" offers excitement, it lacks the texture of the "known."