Chu analyzes Ruilova's formal approach to her video work, including her use of rapid edits and repetitions, and her use of voices as percussive instruments that punctuates spaces creating a sense of unease and eeriness.

Aesthetically her interiors are often decrepit and dark or possess an overly lush veneer that seems to real to be true. In both cases, Ruilova tears back the dressing to reveal a claustrophobic atmosphere drenched in the macarbre and dread.

Ruilova's camera work forces viewers to confront their passive relation to the images on screen by creating a 'disorienting subjectivty.'