"Mar adentro" is a tenacious film, endowed with vitality, even if it is about the process of death. The concept of death was reversed, and it was no longer gloomy and incompetent. It is connected with the sea, with a blue color and independent choice. It is confident enough to be an enemy of the whole world, yet it is photographed so decisively. It is telling us that life and death are rights, but they are not the responsibility of absolute responsibility; as a person, we should naturally seek this right choice. If a movie can accurately convey its will to the audience, and allow the audience to accept its way of thinking, then it is beyond doubt. The power of "Mar adentro" is to allow the audience to recognize that euthanasia is a dignified choice for a person rather than shrinking and fearing.
What Raymond is facing is the resistance of the whole world, willing to take care of his 28-year-old family, strong opposition from public opinion, and women who are willing to help him survive. The director guided this man to break through the barriers of the world, to subvert life and death, and complete his own dignity. In this journey of death, Alessandro Amamba is full of novel annotations, giving Raymond an extraordinary imagination-the body has been restrained but the mind is flying away. This feeling of experiencing the world through the heart aroused the audience's interest, and fully realized that the mind of a disabled person who could not use his hands and feet was so broad. This kind of annotation is a new kind of atmosphere and blood, and Hollywood, which is constantly updating to repair itself, will inevitably take this novelty for its use.
"Mar adentro" begins with a lens with a rich space outside the painting. Raymond's breath fills the entire screen, but he is hidden in his bed that can be photographed. Many people think this is a technical problem, but it is indeed a choice-the choice of film time and space interception.
Alessandro Amamba is actually not too fancy when he is telling "Mar adentro". The burden is only on how to accomplish Raymond's wishes and how to truly euthanize. He cleverly made this process tightly attracted the attention of the audience-Rosa, the woman who once wanted to help Raymond survive, became an active pawn, and her flop made Raymond fulfill her long-cherished wish. And Rosa, the obstacle that was established at the beginning, eventually became Raymond's allies. This is actually a relationship between characters that fits the classic narrative and fits the so-called "the stronger the enemy, the stronger the joy of victory". In fact, there is such a character in many movies, but it is not as suitable as her-the director just used her to capture Raymond's recognition of her and the audience's recognition of her
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"Mar adentro" is shocking. I was shocked by the meaning of life for people expressed in the film. Even if you don't know anything about the experience of the protagonist in the film, you still feel the same. In addition, the starring Javier Bardem's performance is great
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