One way the filmmakers did this was with on-location shots of the rubble in many scenes. The characters in these shots are carefully positioned to highlight the rubble behind them. The lighting is carefully placed to illuminate the rubble and make it stand out. However, the carefully planned cinematography also plays on the overall meaning of the film and not just its appearance. Lighting, for example, influences our feelings towards certain characters. Susan Wallner is always filmed in the light. This is a drastic difference from how we see Hans Mertens. Hans is usually filmed in low light and is very dim. This helps show that Susan is optimistic, while Hans is pessimistic. Another way lighting is used in this film is to create shadows. Shadows are very prevalent in the last sequence of the film. Hans confronted Bruckner and as the camera pans back and forth on each of them we see Hans' shadow continue to get bigger and bigger behind Bruckner. We can interpret this as the shadow getting bigger and bigger, as well as Bruckner's fear, because the dialogue coming from Bruckner is getting faster and we can also feel the fear. There are many moments in the film where close-ups are used to make the plot more dramatic. One scene that comes to mind that makes use of quick cuts and close-ups is at the end of the film: Susan runs in, stopping Hans from killing Bruckner. At this point we