Although the film eventually uses some digital technology , it is not a digitally produced film. Someone who is listening to you, hearing you, there for you, that's the person you end up having a relationship with, sexual or just emotional or whatever. They are having completely subjective experiences, but that doesn't mean [they're] not incredibly receptive to one another and it clearly creates something in-between them. In this digital age , choosing to use film to shoot a movie is more of a feeling of escape from digital electronics. And that's what love and sex and intimacy and all that is. This is undoubtedly a time-consuming and labor-intensive process, but Atom Egoyan enjoys it. In describing her view of Catherine's relationship with Chloe, Moore noted "an emotional quality to their intimacy that has to do with their conversation and their basic receptivity to one another. In the film, Chloe's scene in the greenhouse was decorated with a lot of leaves and patterns on the clothes she wore, which could reflect some of her inner unrest. The characters in the play continue to influence Erin Cressida Wilson. The effect is the same as showing the heart of a character. The entire film production time is only 37 days. Fontaine also said that she was not happy with Nathalie The film was shot in Toronto and Lake Ontario. In the movie, mirrors and glass were used as props for reflection and refraction. The costume design of the film also pays attention to the concept of mirroring. In the wake of Chloe, Egoyan had since received many scripts of erotic thrillers. In order to complement the artwork, costume designer Debra Hanson specifically uses a layered mirror effect on the costume design.