But as the truth bombs explode, the characters bond over their misery, a sudden tide in life, and dawning realisations. Echoing this change, even before the heartwarming final sequence, the frames begin to accommodate both of them, simultaneously capturing their actions and reactions. “Towards the end, when they’re sitting together on the bed and talking, we didn’t want to cut through with any suggestive shots because a certain kind of bond had started developing between them.” In a film where the mood is always dark and dull, night shot were a rarity. Shehnad says, “Christo had written the script with a lot of events unfolding during the daytime. During the day, you’re seeing the rain and floods. So, there is another level of darkness in the frames, even though they don’t come from the light.”