The film Paradise references the circular and planetary motifs in Dante’s narrative. Dean captured light and color with her camera using, amongst other methods, a masking technique that she devised to show different sequences within a single frame. She took her color palette from the watercolors of poet, painter, and mystic William Blake that he made to illustrate Dante’s epic poem. In the editing stage of the film, Dean used a digitally simulated version of Thomas Adès’s score for Paradiso, known as a MIDI, as her guide because, due to the pandemic, an orchestra was unable to meet to record it. Adès agreed to allow Dean to use the MIDI as the soundtrack to the film, which is now presented as a self-contained work.