Because almost the entire movie was shot in the closest of close-ups, Natalie Portman had an especially creative relationship with cinematographer Stéphane Fontaine, who became her shadow. The two had to work as a combined unit, like two dancers in a very complex pas de deux. "I feel that so much of the performance was enhanced by the way it all works in synch with Stéphane's camera", Portman commented. "The choices Stéphane made have a really big emotional impact. A lot of what we did together was improvisational. I would be moving around, and he would also have to, in the moment, decide where to go as I did. It was exciting and the camera was always so close that I had to sort of feel it was just a part of me." Pablo Larraín said of how Portman and Fontaine worked in an inventive union: "Natalie had no fear, and it really did feel like they were a couple dancing at times. They were just always together, everywhere, and Natalie was giving so much, that we didn't even need very many takes. I would say one-third of this movie was made in one single take. She and Stéphane were so connected, that I would sometimes see them on the monitor and feel that they were in flight together."

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