There is a descriptive scene during which Legs is looking through some of Maddy's photographs. Maddy, an aspiring artist, uses the raw photographs as a canvas for explorations in mixed media. Legs chooses a single photograph which has not been modified and says that it is her favorite. When Maddy says that she hasn't decided what to do with it yet, Legs replies that she shouldn't make any changes; the original photograph is perfect. This simple, throw-away line, in conjunction with the use of the photographs speaks directly to the film's main theme. In the climax, Maddy must confront her own feelings for Legs and the thought of running away. Thinking back to Leg's choice of unmarred photographs, the audience realizes that the decision has already been made.

Similar to the photographs is the use of mirrors. Whereas the photographs presented a view to the audience, the mirrors are used as a way for the characters to view themselves. Maddy, when initially confronted with the contradictory feelings for Legs sits in front of her computer's darkened monitor, a gentle glow illuminating her reflection. The framing of the shot illustrates the importance of art in Maddy's life by encompassing a number of artistic elements. By juxtaposing the Maddy's inner contemplation in the reflection with the trappings of her life the audience is able to visually comprehend the turmoil.

The only other character reflected in stark inner turmoil is Dana (Dash Mihok) who is defined by her actions as a traitor to the girls newly found power of independence. After having committed perjury which causes Legs to be sentenced to juvenile detention, Dana has an apparent change of heart. The scene depicting Legs' release from prison contains a single shot of Dana being reflected in the side mirror of her car as she watches Legs recede into the distance. Dana is now visually defined, as is Maddy, by her ability to examine herself and make her own decisions.