.Visual Approach.
a visual translation & portrayal of two stages in trauma: the experience, and the lasting effect of that experience. 
Filming Nahar and Matar
Depth of field; CU & ECU to emphasize isolation & withdrawal into fantasy
Negative space around the character when filmed from afar
Notable scenes: when Matar and Nahar appear together — harmony, calmness [pan between two characters] ; also, hazy, vivid & dream-like (question the reality of their meeting)
Nahar will be filmed in near constant movement i.e. on horseback, walking, driving
Matar in confined, limited spaces
Emphasize the similarities of their lives along with the sharp contrast between freedom and confinement
The dead-end road of Matar’s childhood v. Nahar’s endless and failing passage out of it
The trauma that takes place externally for Matar takes place simultaneously within Nahar; portray the lingering traces of her childhood in the still scenes
Nahar’s freedom clashes with a failing search for something vague and never truly attainable ; there is a back and forth motion to Nahar’s life, i.e. on horseback, then, lying still in a depressive state within van
Color Palette
Yellows and reds in scenes of strong passion/ significant moments
Earth tones: blue, grey, soft yellow, brown
Primary filming to take place during golden hours: early morning, late in the day
Colors of surrounding setting reflect the interiors landscape of the characters
Introduction & portrayal of characters
Gradual revelation of character’s features and bodies; introduce characters by their significant features before they appear in whole.
Shifting distance between the characters and audience. At times, the audience will experience the characters very intimately; at other times, the characters will appear far and inaccessible.