A character glances at a phone and puts it away. Sometimes we see every word; sometimes only the reaction. That difference can shape the scene even when the physical action is almost identical.
Follow access to the words
Choose a scene containing a letter, phone screen or written note. Record when the text becomes readable to the audience. Is it shown before the character reacts, afterwards, or never?
Do not fill in unreadable wording from memory. “A message arrives” is a sound observation when its contents remain hidden. “The message contains a threat” needs support from the film.
Compare two imagined versions
Imagine a character receives “I am outside”. If we read it first, we may watch the doorway. If we only see the character smile, our attention may stay on their expression. This is a viewing exercise, not a claim about a particular production.
Notice whether later dialogue confirms or complicates what you assumed. The film may make your first interpretation provisional.
Keep presentation and content separate
A floating graphic and a close view of a device are different ways of presenting writing. Describe the actual presentation before evaluating whether it helped you follow the scene.
Connect the observation to what the audience and characters know. The useful question is not simply whether a message appears, but who can read it and when.