 Indeed, slow pans of men and landscapes marks the film's primary visual style.Shelly Kraicer notes how the slow, lingering cameras create tableaux of both bodies ("male, copiously presented, and frequently half nude") and landscapes ("long, slow, 180-degree pans that turn vast fields of rubble, waste, and half-decayed, soon-to-be demolished buildings into epic tableaux").This visual trope has drawn references to the Italian master Michelangelo Antonioni and many of his works about urban displacement.