June: Absolutely. Tyler and I decided to use a 4:3 aspect ratio to evoke a sense of confinement, mirroring the characters’ emotional states and the tension in their lives. It’s a subtle yet powerful way to visually convey their struggles. Extreme close-ups with a wider lens were another favorite technique—they bring the audience uncomfortably close, almost intruding on the characters’ personal space, making their emotions feel unavoidable. For key moments, like when Kenny’s world collapses, I used Dutch angles to visually represent that his reality had been upended. It’s a simple but effective way to create unease. I also loved employing slow push-ins during emotionally charged scenes. These allow the audience to connect more deeply with the characters, drawing them into the emotional core without needing too much action.
June: Balancing realism and aesthetics was definitely a creative challenge. I tried to stay true to the natural feel of each space but added some creative choices here and there. For instance, I often used top lighting, which can feel harsh and unflattering. It added a raw, grounded quality that suited the tone of the story. I also incorporated colored gels—specifically quarter green and half green—to give the lighting a sickly, fluorescent vibe. It wasn’t traditionally “beautiful,” but it added to the atmosphere of discomfort. This balance of authenticity and visual storytelling required careful planning but ultimately enhanced the film’s unique tone, grounding the story while keeping it visually compelling.
Tyler: I felt a responsibility to tell this story as accurately and realistically as I could. I was careful to avoid caricature with the characters of Vanessa and Kenny, as doing so would ultimately cheapen the experience. Vanessa is confident and curious. Kenny is cautious and reserved. These are choices that might stand in opposition to traditional depictions of grooming – of the imposing predator and their helpless victim – but I find reality to be much more layered and complex.