Often there is even less light to work with. That can work too as in “Ethereal.” Leslie’s pale skin and hair glow, almost encircling the warm siennas of her precious Odoardi. In the same way Rachel and her cello become one, signalling from the darkness as lines and pools of reflected light. “Pensive” too relies on few areas of bright light — the side of Jon’s nose, the edge of his lips, the crease of his smile.
As viewers, our imaginations supply what is missing, like a pilot landing at midnight.