Whereas the earlier films, mostly shot by Dietrich Lohmann, often framed the groups or members of the group in static tableaux in order to highlight their
solidarity and opposition to a lone
outsider, this film (Fassbinder's ultimate collaboration
with Michael Ballhaus) uses an almost constantly moving camera and a remarkable succession of framing and fracturing devices within the camera frame to underscore the shifting alliances, individual isolation, and internal struggles of the characters.