Scholar Dominique Nasta saw the style as a "minimalist, 'less is more' line". British Film Institute writer Ben Walters judged it "simple and rigorous, with scenes composed of only one or two shots". Walters remarked on "handheld, mobile, almost literally breathtaking" shots, and on the impact of still scenes. Despite the handheld camera, Mungiu said the crew developed a style where shots were taken so the action is followed but the camera's movements would not be overly obvious to the audience. Journalist Brian Gibson assessed the photography as "patient, alert, dogged in its observation of Otilia's endeavours". Surveying the photography, academic Ileana Jitaru found "simple, austere and realistic compositions in which the black humour is a stylistic means of anchoring the theme(s)". Jitaru also commented on the colour scheme, observing "cold desaturated colours", particularly greys, blues and greens in the beginning. Additionally, the story, set during a single day, is related by real time narrative in its scenes, although minutes or hours may separate the events in separate scenes. According to Mungiu, the real time was meant to achieve a sense of continuity true to life.