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The decision to move the production from a generic set to a real home was not a small logistical feat. It required a complete rethinking of lighting, sound, and camera placement. Instead of relying on studio lighting, the cinematography had to work with the existing natural and artificial light of a real apartment. The sound design, too, had to capture the ambient noises of a lived‑in space, adding another layer of intimacy. The result is a film that feels less like a produced feature and more like a verité document, a stylistic choice that significantly enhances the viewer’s sense of voyeurism. Instead of relying on studio lighting, the cinematography