Beavers has written on Efpsychi: “The details of the young actor's face-his eyes, eyebrows, earlobe, chin, etc.-are set opposite the old buildings in the market quarter of Athens. . . . He speaks a single word, teleftea, meaning the last (one).” In Wingseed, Beavers draws comparisons between the pastoral beauty of a Greek hillside and that of the male form. Shot in Rome, The Hedge Theater is inspired by the Baroque architecture and stone carvings of Francesco Borromini and St. Martin and the Beggar, a painting by the Sienese artist Il Sassetta. Beavers contrasts the sensuous softness of winter light with the lush green growth brought by spring rains. Each shot and each source of sound is steeped in meaning and placed within the film's structure to build a poetic relationship between sound and image.

The Stoas includes images of the deserted industrial arcades (stoas) of Athens during siesta and the refreshing waters of a bountiful river. A recurring shot of the filmmaker's hands held outstretched, as if holding something that is not there, is the only literal human element in the film. “An ineffable, unnamable immanence flows through the images of The Stoas, a kind of presence of the human soul expressed through the sympathetic absence of the human figure” (Ed Halter). The Ground uses seemingly simple components-the sun-baked landscape of a Greek island, the blue waters of the Aegean Sea, and images of a man chiseling stone-to conjure the fundamental experience of holding something close to one's heart. A repeated close-up of a man pounding his bare chest, then gesturing with hand outstretched, lends dramatic tension to the film's expression of devotional love.