Cinematic Storytelling
I could be wrong about all of these or am interpreting them incorrectly, but:
1.
After wandering through the desert, Travis briefly appears messianic in the doctor's office.
2.
While recounting the origin of his purchase of land and looking into the past and allowing his brother (and us) into his mind, Travis is reflected in the rear view mirror. 'Rear view' = past; mirrors/glass are significant throughout the movie.
3.
The brother's disconnected relationship is illustrated by splitting the car and never showing the brothers onscreen together while talking. Device used again later when Travis talks to Jane.
4.
Travis is shown behind bars while looking at a painting and old photographs. Likely a prisoner of his or the past.
5.
Travis is shown 'in the weeds' and he is in them 'over his head'. I could be stretching on that one.
6.
While watching the super 8 movie, Hunter is at a great distance from Travis and is out of focus.
7.
While washing dishes, Travis is shown on the other side of the glass window. There is still a barrier between the viewer and Travis as we have yet to find out some significant details. We also don't know what he's thinking. The immediate next shot is the maid on the other side of the glass sliding door from Travis
8.
Unsure of significance. While Ann is telling Travis about Jane's money and how Jane's phone calls have ceased, a shot of Los Angeles, lit up at nighttime and below a partially illuminated sky, is shown.
9.
Travis finally steps out of the weeds and stands alone as he admits anger at the situation, saying that Jane stopped being a mother a long time ago.
10.
Unsure of significance. Are either Jane or Ann torn due to not having Hunter? 'Half a woman'?
11.
Hunter is shown from below, ie Travis's perspective. Hunter is shown to be smarter and more level than Travis, as evidenced by this, Hunter's astronomy lectures, and the following scene.
12.
Travis lies on the leather couch as Hunter sits in the easychair, resembling a classic psychiatrist and patient. Travis hopelessly needs his son's counsel.
13.
As Travis begins to tell his side of the story of their relationship, Jane is shifted off camera and neither are shown onscreen together while he is speaking. Travis is discussing how their love faded and they became separated. An echoed device of the car scene between Walt and Travis.
14.
After Jane realizes who has been speaking to her, she cries and moves to try to see Travis. Travis's face appears on Jane's body. The two are entwined and their bond is still extant. They are within one another. Again, though, there is a boundary of glass/mirrors between Travis and someone, foreshadowing his solitary fate by the movie's end.
15.
Jane sits in a manner recalling prayer or Confession as she settles in to tell Travis her side of things.
16.
As Jane tells her side of things, it is notable that now, unlike when Travis was talking, the two now appear together on screen. While Travis will not literally be with Jane going forward, he will still be with her in spirit (he appears ghostly behind the glass); watching over her. Their understanding of one another has strengthened the relationship. Though it is significant that he is behind her (ie 'in her past').
17.
As Jane enters room 1520 where Hunter has been staying, the perspective shifts upward from Hunter's height to Jane's height. Significant due to its difference in the Hunter/Travis relationship. Jane is clearly able enough to be a mother to Hunter. Hunter was always depicted as above Travis and smarter than him; Jane is stronger as a parent and we're shifted upwards with her.
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