The cinematography flirted with nostalgia but refused to be sentimental. Longmint’s green was photographed in ultraviolet along the edges, giving leaves an uncanny glow, as if the plant had absorbed a kind of local light unique to Longmont’s soil and sky. The soundtrack mixed field recordings—wind through corn stubble, the ping of a delivery van—with archival radio ads and a piano line that hinted at something folky and minor-keyed, like a memory half-remembered.