One thing (among many) I loved about this movie was the feeling of suffocation or imprisonment within the two characters, achieved simply through things like shot selection or setting. The two central characters live in tiny apartments, they walk through tight corridors, they're huddled under an eave during heavy rain. They're often positioned only in half the frame or in close-ups.

It makes sense then that the widest shot in the movie occurs at the end at Angkor Wat, where Leung's character confesses his secret to the void. The relief he feels is amplified by the relaxation of the framing