Films should be visual, Alfred Hitchcock said. And we can assume he didn't mean CGI-visual.
There's no CGI in this film, which might be surprising. And at least half the scenes are shot in water. That's a challenge. The "mermaids" in some of the water scenes are not created with software. They are real people swimming off the shores of Hawaii.
There's a scene of stars that's stunning, and a time-lapse of cars traveling at dusk that you are not likely to forget.
There is no true denouement in this film. It's mostly a two-actor film, and as much a film of inference as implication.
There's an upbeat dance scene in the middle that provides relief from the stern tenor of the plot.
For some odd reason, it reminded me of the Dutch film, "The Vanishing," although there's no logical reason for anyone else to draw that conclusion, and the resolution to this film is more upbeat than that dire ending.
This film struck me as what many Americans would call "a foreign film" back in the '50s and '60s.
It's precisely edited, has a score that will likely go unnoticed - as is true of many film that don't have John Williams in the credits - and a visually fascinating bit of work.
There's no CGI in this film, which might be surprising. And at least half the scenes are shot in water. That's a challenge. The "mermaids" in some of the water scenes are not created with software. They are real people swimming off the shores of Hawaii.
There's a scene of stars that's stunning, and a time-lapse of cars traveling at dusk that you are not likely to forget.
There is no true denouement in this film. It's mostly a two-actor film, and as much a film of inference as implication.
There's an upbeat dance scene in the middle that provides relief from the stern tenor of the plot.
For some odd reason, it reminded me of the Dutch film, "The Vanishing," although there's no logical reason for anyone else to draw that conclusion, and the resolution to this film is more upbeat than that dire ending.
This film struck me as what many Americans would call "a foreign film" back in the '50s and '60s.
It's precisely edited, has a score that will likely go unnoticed - as is true of many film that don't have John Williams in the credits - and a visually fascinating bit of work.