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So, a generic left turn or not, scenes still show well developed signs of the careful, deliberate structure that kept the tick tock progression of Amenebar's suspensers in order. New information steadily unspooling, every scene's shape is predicated on a drive for, well, drive. Narrative progression is central, characterisation secondary and, though placed in third position, the movie's more subtle complexities are still given sufficient breathing space. The handling of the themes and conceits related by the movie's name make, in fact, for the highpoints. We see, literally, The Sea Inside, the imaginary arena in which Ramon makes his flights of fantasy. From the beginning to the end, this film is in love with the physical world - and by extension, life. This is not the only means by which the film takes a political or philosophical stance on euthanasia, but it is the most inherently convincing. We are reminded, by Ramon, that even three feet of empty air is not to be taken for granted, for him it is effectively an insurmountable gulf. This awareness vividly imbues the cinematographic approach as from vast window views to a tangible outside momentarily given focus through the windscreen of a car Amenebar studies the actual space around us. Not since Twelve Monkeys has a feature film been so in love with our planet, it's solidity and practical actuality. 'Persistence of Vision' is a myth. Though often namechecked as the phenomenon that makes the movies move, it doesn't even exist. In fact, two separate principles lead to the silver screen coming to life in our eyes - flicker fusion and apparent motion. It is these two precepts of perceptual psychology that takes the flashing beam of light from over our heads and translates it into what appears to be a constant, flowing spectacle before our eyes. The magic doesn't stop there - lost in a movie, how many times has that flat 2D pane taken on depth for you? How many millions have taken a mono soundtrack to be the living, breathing world around them? In Mar Adentro's deep space, we are given a visceral underpinning to the core argument. We feel the beauty of being alive all around us in the cinema, even the thoughts, senses and memories of the characters rendered in terms of physical experience. Of course, as well, this can serve to remind us, in many regards, what Ramon feels he has lost and why he wishes to die. His world remains - it might be argued, though I would not personally agree - as only a movie, only a spectacle, only something to be seen and not experience, the blank spaces filled in with daydreams not participation. The movie does conclude with either Ramon's success or confirmation that he was never helped to die a willing, peaceful death. If this resolution divides audiences, however, I would be surprised. Despite the implicit side-taking I mentioned above, I believe the eventual, overwhelming experience has less to do with any political or theological debate than a sense of growing awareness of one man's experience, one man's feelings and one man's struggles. Mar Adentro is a success for the gifted Amenebar and his star Bardem, for each it is their best showing yet.
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