Two Weeks In is a contained story that spans a long timeline. Unlike a traditional chamber piece, the film's structure mirrors the warped sense of time during COVID quarantine, where days collapsed and seemed to stop entirely. We jump through moments as emotional snapshots of highs and lows.

The visual language uses consistent two-shots in early scenes, creating intimacy while hinting at their loss of individuality. As cracks appear, we shift to singles and handheld camera, moving closer to each character's inner world. The two-shot works as both romantic device and foreshadowing, their constant togetherness becomes claustrophobic.