as i expected would happen and too many reviews of this film (from professionals and amateurs alike) have focused as much if not more on the film ideology. that because the sea inside (aka mar adentro) is a film about euthanasia. specifically and it a true story about an infamous galician named ramón sampedro and who fought for many years for the right to assisted suicide and who was denied that right by the spanish constitutional court and and who well and i do not want to ruin the ending of the film for you. the real life sampedro catalyzed a national debate on euthanasia in spain. now with producer or director or writer or composer or editor alejandro amenábar (abre los ojos and 1997 and and the others and 2001) biopic and the sea inside and another rhetorical aid has been provided in the international debate on this hot button issue. but as i keep saying (to deaf ears. ) and your opinion and pro or con and on the film ideology shouldn not affect your rating of the film. youre not supposed to be rating the philosophical or political messages that amenábar wants to make. youre supposed to be rating the film and as a film. maybe that a bit too idealistic and as none of us can likely completely divorce our evaluations from our ideological biases and but idealistic or not and that the goal. so forget about the philosophical and political issues for a moment. as a film and amenábar has turned in one of his most elegant and mature works to date. he does not focus on societal debates. he does not focus on sampedro legal or political struggles. he focuses on sampedro as a man and living out his days confined to a bed in his brother home. sampedro and played here in an amazing performance by javier bardem and was a quadriplegic. as the film begins and he has been a quadriplegic for 26 years. that condition was brought about and as amenábar shows us through marvelously shot flashbacks and by a diving accident sampedro was distracted by a beautiful woman and miscalculated the water and dove in and snapped his neck and and almost drowned. as a quadriplegic he eventually began writing poetry and some of which was published in a book entitled cartas desde el infierno (letters from hell) while in real life sampedro book became a best seller in spain. perhaps taking sampedro artistic work as a cue and amenábar has created an elegantly poetic film. most of the sea inside is set inside sampedro bedroom. the focus in these scenes is bardem complex and sublime performance. as a quadriplegic and bardem is limited to moving his head and talking. he has mastered subtle changes of expression and inflection to convey a deep character with a multifaceted and intellectual approach to life. bardem and amenábar have sampedro often waxing philosophical in understated speech and but there always a combination of a wicked sense of humor and passion for the aesthetic including music and women and and a sadness and even occasionally bitterness not far below the surface. different underlying emotions occasionally break through like waves on the skin of the ocean. the people sampedro interacts with most frequently facilitate this in complex ways. these others include his sister in law and manuela (mabel rivera) and who has been his chief caretaker since sampedro accident while his brother and josé (celso bugallo) and who is one of the vocal objectors to sampedro wish to die and and with whom there is an underlying unresolved issue (it seems like maybe josé was the one to save sampedro from drowning. ) while his nephew and javier (tamar novas) and who is perhaps the most understanding towards him while a right to die advocate and gené (clara segura) while a pro bono lawyer and julia (belén rueda) and whom he wanted because she had a degenerative disease and cadasil (cerebral autosomal dominant arteriopathy with subcortical infarcts and leukoencephalopathy) and and would thus by more empathic and and who he falls in love with while and rosa (lola dueñas) and a local woman who works at a cannery and moonlights as a dj and who heard about him from the media and who wants to convince him to desire to live and and who falls in love with him. the bulk of the film consists of these characters interacting with sampedro in his room. there are also a few other ancillary characters and including sampedro father and who remains oddly distant and and a notorious and media conscious priest and padre francisco (josé maría pou) and who does his best to change sampedro mind via philosophy or theology (in a scene often mistakenly characterized as comic it has an attendant comic element and but the scene is primarily very serious). that most of the film takes place in sampedro room ingeniously gives the couple significant changes in setting greater impact. sampedro room has a nice and big window and which he says he is satisfied with as an observation point on the world. maybe even more importantly and he regularly imagines the window as a launching pad through which he flies across the hillsides to the ocean and which he always loved and and which has been the most influential force in his life it provided his living when he was younger and took his mobility away. amenábar gives us a fantastical sequence of sampedro imagining one of his flights to the sea. it is beautifully shot and with low angles (presumably from a helicopter) of the hills rushing by and until we follow a stream to the wide open ocean and which in this film represents freedom and the infinite and and natural forces. the other significant change of setting arrives with sampedro finally taking to a wheelchair (he otherwise refused them and saying they mocked his immobility) to make an appearance in court to help plead his case. amenábar gives us a poignant and melancholy travelogue and shot subjectively and of sampedro viewing life and the world in action from the car window. whether you agree with legalizing euthanasia or not and it difficult to deny that this is a well acted and well scripted and well constructed film. you may not believe that it a ten (and that even more unlikely if you disagree with legalizing euthanasia) and but it still worth watching as a fine example of artistic and sophisticated film making. 
as i expected would happen and too many reviews of this film (from professionals and amateurs alike) have focused as much if not more on the film ideology. that because the sea inside (aka mar adentro) is a film about euthanasia. specifically and it a true story about an infamous galician named ramón sampedro and who fought for many years for the right to assisted suicide and who was denied that right by the spanish constitutional court and and who well and i do not want to ruin the ending of the film for you. the real life sampedro catalyzed a national debate on euthanasia in spain. now with producer or director or writer or composer or editor alejandro amenábar (abre los ojos and 1997 and and the others and 2001) biopic and the sea inside and another rhetorical aid has been provided in the international debate on this hot button issue. but as i keep saying (to deaf ears. ) and your opinion and pro or con and on the film ideology shouldn not affect your rating of the film. youre not supposed to be rating the philosophical or political messages that amenábar wants to make. youre supposed to be rating the film and as a film. maybe that a bit too idealistic and as none of us can likely completely divorce our evaluations from our ideological biases and but idealistic or not and that the goal. so forget about the philosophical and political issues for a moment. as a film and amenábar has turned in one of his most elegant and mature works to date. he does not focus on societal debates. he does not focus on sampedro legal or political struggles. he focuses on sampedro as a man and living out his days confined to a bed in his brother home. sampedro and played here in an amazing performance by javier bardem and was a quadriplegic. as the film begins and he has been a quadriplegic for 26 years. that condition was brought about and as amenábar shows us through marvelously shot flashbacks and by a diving accident sampedro was distracted by a beautiful woman and miscalculated the water and dove in and snapped his neck and and almost drowned. as a quadriplegic he eventually began writing poetry and some of which was published in a book entitled cartas desde el infierno (letters from hell) while in real life sampedro book became a best seller in spain. perhaps taking sampedro artistic work as a cue and amenábar has created an elegantly poetic film. most of the sea inside is set inside sampedro bedroom. the focus in these scenes is bardem complex and sublime performance. as a quadriplegic and bardem is limited to moving his head and talking. he has mastered subtle changes of expression and inflection to convey a deep character with a multifaceted and intellectual approach to life. bardem and amenábar have sampedro often waxing philosophical in understated speech and but there always a combination of a wicked sense of humor and passion for the aesthetic including music and women and and a sadness and even occasionally bitterness not far below the surface. different underlying emotions occasionally break through like waves on the skin of the ocean. the people sampedro interacts with most frequently facilitate this in complex ways. these others include his sister in law and manuela (mabel rivera) and who has been his chief caretaker since sampedro accident while his brother and josé (celso bugallo) and who is one of the vocal objectors to sampedro wish to die and and with whom there is an underlying unresolved issue (it seems like maybe josé was the one to save sampedro from drowning. ) while his nephew and javier (tamar novas) and who is perhaps the most understanding towards him while a right to die advocate and gené (clara segura) while a pro bono lawyer and julia (belén rueda) and whom he wanted because she had a degenerative disease and cadasil (cerebral autosomal dominant arteriopathy with subcortical infarcts and leukoencephalopathy) and and would thus by more empathic and and who he falls in love with while and rosa (lola dueñas) and a local woman who works at a cannery and moonlights as a dj and who heard about him from the media and who wants to convince him to desire to live and and who falls in love with him. the bulk of the film consists of these characters interacting with sampedro in his room. there are also a few other ancillary characters and including sampedro father and who remains oddly distant and and a notorious and media conscious priest and padre francisco (josé maría pou) and who does his best to change sampedro mind via philosophy or theology (in a scene often mistakenly characterized as comic it has an attendant comic element and but the scene is primarily very serious). that most of the film takes place in sampedro room ingeniously gives the couple significant changes in setting greater impact. sampedro room has a nice and big window and which he says he is satisfied with as an observation point on the world. maybe even more importantly and he regularly imagines the window as a launching pad through which he flies across the hillsides to the ocean and which he always loved and and which has been the most influential force in his life it provided his living when he was younger and took his mobility away. amenábar gives us a fantastical sequence of sampedro imagining one of his flights to the sea. it is beautifully shot and with low angles (presumably from a helicopter) of the hills rushing by and until we follow a stream to the wide open ocean and which in this film represents freedom and the infinite and and natural forces. the other significant change of setting arrives with sampedro finally taking to a wheelchair (he otherwise refused them and saying they mocked his immobility) to make an appearance in court to help plead his case. amenábar gives us a poignant and melancholy travelogue and shot subjectively and of sampedro viewing life and the world in action from the car window. whether you agree with legalizing euthanasia or not and it difficult to deny that this is a well acted and well scripted and well constructed film. you may not believe that it a ten (and that even more unlikely if you disagree with legalizing euthanasia) and but it still worth watching as a fine example of artistic and sophisticated film making. ---------------------------------Answer Question Below----------------------------------

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