Sequence 7

Boat: The three of them meet

231 – Sea. Right-left pan up to the boat /
232 – CU of Raul who speaks, inclines himself towards the edge of the boat. Left-right pan over Taciana /
233 – AS of Olga on the prow /
234 – Raul in profile /
235 – Detail from top of Raul’s foot and water that enters the boat
236 – Detail from top of Raul’s foot, water and the two wands /
237 – LS of the boat that turns. Olga sits down near the two
238 – Sea

With fusion, for the first time the landscape in the boat sequence is preceded by the sea shot and the pan over the boat framed at distance [231]. The CU of Raul who speaks [232] is set in analogy with the CU of the other two characters in the same situation [71] and [195], even if this one is closer in relation to the one of Olga and more frontal in relation to the one of Taciana, who was framed from top. Raul expresses his humiliation turning to the sea as Taciana had done. Pan of Raul over Taciana with her dress torn, relating the two of them in contradiction to Olga on the prow [233]. Raul in profile and with hair to the wind shows his empty hands in a handcuffed position who tights his fists [234], (Music changes). The detail of the boat with water that infiltrates [235] and the closest to the short wands in the water [236] give the idea of the objectively precarious situation (water) and of the prostration state. In LS the boat at distance [237] and the three characters that come closer and relate to each other for the first time. Shot of the empty sea [238] like the opening of the sequence. Fusion.

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