Filmmakers use a wide range of audiovisual elements in their texts to effectively communicate their main ideas and concepts. It is through the implementation of these cinematic components that the audience is able to follow the characters' experiences and perhaps develop an understanding of their struggles. 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's (2002) underlying themes of homosexuality, racial prejudice, and the female experience explore how societal ideals and cultural oppression lead to internal conflicts and social dilemmas and irreconcilable personal. Say no to plagiarism. Get a tailor-made essay on “Why Violent Video Games Should Not Be Banned”?Get the original essay Todd Haynes' film Far From Heaven (2002) uses various cinematic elements to explore contemporary themes of extramarital homosexual relationships condemned and conflicting problems it creates for the individual and his family. Hayne, throughout the film, uses subtle cinematic cues to build upon the core themes of the narrative. The use of diegetic dialogue, as Eleanor reads, "behind every great man lies a great woman", establishes the oppressive social ideals of their time, suggesting that intimate relationships must take place between individuals of the opposite sex. The allusion to sex as Nancy says: "Mike insists on...once a week" proves to be an uncomfortable subject for Cathy as the camera cuts to a medium shot, capturing her awkward facial expression, the reiteration "one times a week? creates a feeling of unease. Further underlined by Cathy's closed-off body language, her lack of eye contact and nervous adjustment of her napkin become indicative of problems within her marriage. The employment of a transitional crossfade and sound bridge connects two scenes of Cathy bringing Frank's dinner from his home to his office, to build anticipation. This is emphasized by the muted blue lighting, forming a sense of mystery for the audience, juxtaposed with Cathy's bright red dress and green coat, creating an interaction with the conflict of internal emotions of the character and her surroundings. Haynes uses similar forms of blue lighting throughout the film, to provide emotional meaning and track the effect of Frank's sexual desires on his marriage. The lighting starts off lavender and purple, as the story continues the blue becomes darker and green to reflect the deterioration of their relationship. Haynes uses a medium close-up shot of Cathy as she opens the office door, catching her reaction before the camera quickly pans to a medium wide shot of Frank kissing another man. The non-diegetic music speeds up and increases in volume to create intensity and reflect Cathy's shock. Haynes recalls the green lighting of the gay bar scene and foreshadows the walls of the Miami hotel to create the effect of a disturbing supernatural, the abnormal and distorted nature of frank sexual desires. Haynes' implementation of rapid camera movements, low-key lighting, and increasingly intensifying music, creates the emotional intensity of the scene and establishes visual symbols that recur throughout the film, allowing for the audience to link particular colors and lighting to certain emotions and desires of the characters. Haynes' use of subtle cinematic cues, in addition to distinctive elements, allows him to effectively communicate ideas and concepts.