This was one of the first questions we asked ourselves during the development of the screenplay. We wanted to approach it with the aim of creating a clear but nuanced experience for the audience. Joseph Ollman, the director, saw the narrative as fundamentally two perspectives on the same problem—the brother’s internal struggle with his mental health and the sister’s external challenge in trying to manage its effects. His vision was for the film to balance these perspectives in a way that respected both characters’ experiences, without losing the audience in the process. Sam Travis, our director of photography, played a crucial role in translating this vision into the visual language of the film. Together, Joe and Sam explored ways to create a distinction between the siblings’ points of view. For the brother, whose fears are deeply real to him, we wanted to bring a sense of distortion and unease through lens choices, focus pulling, and lighting that feels agitated and off-balance. His world is frenetic and unstable, reflecting his inner turmoil. In contrast, the sister’s perspective is much more grounded and familiar, with controlled lighting and lenses that reflect how we naturally see the world. But even here, there’s an underlying tension, as her fears for her brother’s safety and her own ability to cope with his unpredictability are always present. We also wanted moments where the two worlds overlap, so the audience experiences a degree of uncertainty—such as when an apparently malevolent stranger appears in their midsts. Is he a real threat, or is it the brother’s delusion? These moments, we hope, draw viewers into the sister’s dilemma of how to manage and care for her brother. Ultimately, we aimed for the audience to feel anchored in the sister’s reality by the end, while having experienced the disorientation of the brother’s inner world. It was a careful balancing act, led brilliantly by Joe and Sam’s collaborative efforts.