Filmmakers use a wide range of audiovisual elements within their texts to effectively communicate their main ideas and concepts. It is through the implementation of these cinematic components that the audience can follow the characters' experiences and perhaps develop an understanding in relation to their difficulties. These notions become evident in Todd Haynes' film, Far From Heaven (2002), the film recreates the melodramatic style of the 1950s to explore contemporary issues. In particular, Far From Heaven (2002)'s underlying themes of homosexuality, racial prejudice, and the experience of women, explore how social ideals and cultural oppression lead to internal conflicts and irreconcilable social and personal dilemmas. Say no to plagiarism. Get a tailor-made essay on "Why Violent Video Games Shouldn't Be Banned"? Get an Original Essay Todd Haynes' film, Far from Heaven (2002), uses various cinematic elements to explore contemporary themes of doomed extramarital, homosexual affairs, and the conflicting issues it creates for the individual and their families. Hayne's, throughout the film, uses subtle cinematic cues to develop the narrative's core themes. Eleanor's use of diegetic dialogue as she reads "behind every great man lies a great woman", establishes the oppressive social ideals of their time, suggesting that intimate relationships must be between individuals of the opposite sex. The allusion to sexual intercourse as Nancy states "Mike insists on... once a week" proves to be an uncomfortable subject for Cathy as the camera switches to a medium shot, capturing her awkward facial expression, the reiteration "once a week week?" creates a sense of unease. Further emphasized through Cathy's closed body language, her lack of eye contact and nervous napkin adjustment become indicative of problems within her marriage. The use of a transitional dissolve and sound bridge connects two scenes in which Cathy brings Frank's dinner from home to his office, to create anticipation. This is emphasized through the soft blue lighting, which creates a sense of mystery for the audience, juxtaposed with Cathy's bright red dress and green coat, creating an interplay with the characters' conflict between internal emotions and their surroundings . Haynes uses similar forms of blue lighting throughout the film, to form emotional meaning and follow the effect of Frank's sexual desires on his marriage. The lighting starts with lavender and purple base, as the story continues the blue becomes darker and green base to reflect their deteriorating relationship. Haynes' use of a medium close-up of Cathy as she opens the office door captures her reaction before the camera quickly pans to a medium-long shot of Frank kissing another man. The non-diegetic music moves at a fast pace and increases in volume to create intensity and reflect Cathy's shock. Haynes recalls the green lighting of the gay bar scene and foreshadows Miami hotel walls to create the effect of an uncanny otherworldliness, of the abnormal and distorted nature of frank sexual desires. Haynes' implementation of rapid camera movements, soft lighting, and increasingly intensified music builds the emotional intensity of the scene and establishes visual symbols that recur throughout the film, allowing the audience to connect particular colors and lights with certain emotions and characters' desires. Haynes' use of subtle cinematic cues, in addition to signature elements, allows him to effectively communicate the film's main ideas and concepts. Far From Heaven (2002).