The unusual framing, often cut markedly horizontal, evokes the visual syntax of the cinema, and the figures themselves are positioned in elongated fields, sometimes off centre or cut by the edges of the canvas, as though caught by a moving, lateral, no longer rigidly frontal eye. This approach, recalling the compositions of silent cinema and instant photography, introduces a silent dynamism to the scene: the beach opens like a natural set, and the line of the sea becomes a sort of visual “bar” structuring the image.