This film has a documentary style and uses little lighting or special effects. The camera is largely stationary. The crane shot is used only once, in the final scene at Werner Tötges's funeral. Cinematographer Jost Vacano felt that this would make it easier to get into the heads of the audience.[5] Volker Schlöndorff originally went with another cinematographer but changed his mind later and went with Jost Vacano. The opening scene on the barge was shot with 16 mm film to make it seem like grainy camera footage. The film was shot during carnival season and uses many bright, vibrant colors but as the film progresses it becomes more dark and grayish to show Katharina's pain. Jost Vacano felt that this is one of his most important films, even more than American releases like Total Recall or Starship Troopers because of the political message and his cinematographic choices. The film has appeared on television thirty times since being released which according to Vacano shows that the message will always be relevant.
The film uses almost no makeup. Jost Vacano wanted you to see Katharina's skin imperfections and feel she was a real person.
Angela Winkler was said to have done her acting best on the first or second take while Mario Adorf was best on the seventh or eighth take. Multiple takes got him better into the character.[4]
The sets are intentionally abstract. Police offices are intentionally depicted as large open spaces with empty desks which was not the case in West Germany at the time. This abstract, empty set design was influenced by the American painter Allen Tucker.[4]
