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review note on The Mermaid's Tear, and the boldest directorial choice is refusing to shoot the miracles as miracles.
A fleet survives a place ships do not survive. A princess comes back from water nobody returns from. These are god-sized events, and the camera gives them the same weight as a man carrying a crate up a gangway.
That is deliberate, and it is the whole thesis. In this house, the extraordinary is indistinguishable from labour, because the man doing it is indistinguishable from staff.
It also denies the audience the release a spectacle would give. You never get to gasp. You only get to notice, later, that nobody ever thanked him.
✨ What worked for me: - The sea is never shown as beautiful. It is shown as weather. - No rescue gets a score under it.
✨ Bottom line: the flatness is the point, not a limitation.
