Transferring Dalstonian’s interiority, focus on the psychology and speech patterns of the characters, and deterministic worldview to film was a challenging task. Rather than avoiding the issues of the film- long, repetitive, static dialogue scenes- I confronted them head on, taking inspiration from Hou Hsiao-hsien and Mati Diop with master wides, limited movement and unending conversation. Long shadows and weak rose-tinted sunlight flood the film, providing a sense of the passing of time. Trains also run throughout, a natural punctuation often overheard in London- and implicitly a reminder of the slow journey towards nothing both characters are on.