His films obsessively frame faces and bodies within architectural spaces, exploring how facial expressions reveal psychological alienation and existential emptiness.

He pioneered extreme close-ups of faces to capture spiritual and emotional truths, most notably in 'The Passion of Joan of Arc' where the face becomes the primary subject.

His films treat faces as aesthetic objects of desire and beauty, using extreme close-ups, soft focus, and dramatic lighting to elevate facial features into visual poetry.