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The film’s visual style reinforces this theme. Cinematographer Fabio Zamarion shoots the auction house in cold, geometric precision—whites, grays, and blues—while Claire’s villa is drenched in amber decay and cobwebbed chandeliers. Every frame contains a mechanical device: gears, clocks, automata. These are reminders that emotion can be wound up like a spring. The most haunting image is a 19th-century automaton that Claire supposedly owns—a mechanical woman who can write, draw, and even shed tears. By the film’s end, we realize that Claire herself was the automaton, programmed by Robert to perform love. Yet Virgil, the expert in fakes, prefers the machine to the real.