Because of this dynamic, then, the mirrorless drawing-room becomes a representation of the existential fluidity the trio experiences in hell, ultimately standing for their desire and failure to make peace with the way they present themselves to the world. When Estelle gets pregnant with Rogers child, Roger is delighted. When Inez offers to let Estelle use her eyes as a mirror, Estelle only gets more uncomfortable she senses that the version of herself Inez sees will always be different than the version Estelle herself imagines. Roger is a man with whom Estelle has an affair, which her husband knows nothing about. Otherwise, she’s forced to imagine what other people see when they look at her-an experience that deeply troubles her. She explains to Inez that she usually likes to have a mirror nearby when she’s having conversations so that she can look at herself while talking, thereby grounding herself. Based on the 2017 novel of the same name by Taylor Adams, 'No Exit' may immediately call to mind the Jean-Paul Sartre 1994 philosophical play with which it shares a name thanks to the very basic.
Unable to check her reflection, Estelle feels existentially amiss, as if her mere existence depends upon her ability to see herself. The drawing-room’s lack of mirrors represents Sartre’s interest in how perception influences a person’s sense of self.
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