Clarke moves away from the strictly depictive perspective maintained in Dance in The sun and towards an expressive and interpretive use of the camera in A Moment in Love. As the dancers move, the camera not only follows them but exceeds and breaks their trajectories. It manipulates their perceptible movements to such an extent that the dancers appear to be gliding among the clouds, suspended in endless and even supernatural bliss. As Clarke explains: "I started choreographing the camera as well as the dancers in the frame". With bright, lustrous tone, Clarke goes beyond subjective camera work to the point that her camera becomes subject itself.