British Film Institute writer Leigh Singer assessed the cinematic style as "bold" and artistic in its use of colour, "existential voiceover" and "languorous pacing".[23] Singer also commented on the use of symbolism and the combinations of diverse pieces of culture, from the poetry of Rainer Maria Rilke to the music of Nick Cave. In Singer's estimation, the cinematography is able to communicate the angels' "invisible intimacy and empathy".[23] Professor Terrie Waddell described the "dialogue and monologue" as "lyrical", in the mold of Rilke's poetry.[49] Scholar Alexander Graf considered how these voice-overs and verbal exchanges are frequently combined with background radio and television sounds, and concluded the "image and soundtrack" that comprise the style convey a point of "blindness": "men and women are plagued by their everyday problems; children are, like the angels, in their own dreamy world".[57]
Professor Russell J.A. Kilbourn judged the style as opposed to realism and "emphatically German" in looking at particular situations of human life.[58] Authors Martin Brady and Joanne Leal remarked the storytelling shies away from an entirely narrative format, and the film's writing style is embodied in the Homer character as "the angel of story-telling".[39] Perception of people becomes key to the storytelling, with Brady and Leal quoting Handke's vision for a new narrative: "You have only interpreted and changed the world; what matters is to describe it".[59] Psychologist Ryan Niemiec wrote that, by focusing on "the beauty of each moment", Wings of Desire conveys "awe and wonder".[60]
As Singer observed, Wings of Desire serves as a "Symphony of a city" in capturing a "wintry, pre-unification Berlin".[23] Kilbourn said that the place highlighted in the German title Der Himmel über Berlin, like the desire referenced in the English title, is of great importance, and that the "frequent angel's-eye-view shots of East and West Berlin" allows for "quasi-objective voyeuristic surveillance".[61] Observing the angels' trench-coat fashion, sociologist Andrew Greeley wrote it fit the "wet, blustery, cold northern Germany" setting.[62] Looking at the coats and ponytails, Dr. Detweiler found the visualization of the angels "so cool and stylish".[9]
Music is used in differing ways throughout the story. Musicologist Annette Davison argued Knieper's score in angel scenes is artistic, with elements of Eastern European and Orthodox Christian music, and Petitgand's music displays a "slippery" harmony frequently heard in circus entertainment.[31] When Marion leaves the Circus Alekan, there is an increase in rock music, particularly by Cave and Crime & the City Solution. Davison submitted this symbolizes "utopian promise of the sensual mortal world", and that lyrics echo the plot: Cave's "The Carny" suggests a disappearing carnival worker as the Circus Alekan closes, and "From Her to Eternity" suggests a desire for a woman's love.[31] Professor Adrian Danks wrote that Cave's rock music symbolized "the physical, worldly reality of Berlin", with "The Carny" adding a feel of sorrow in the background, while Marion gives "breathy accompaniment".[63]
