Incredible optical illusions in a story in a story in a story helps the surprised viewer finally to find out that he has been watching himself all along.

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Cast

Cast overview:
Bart Klever ...
Klever, Bart
Devika Strooker ...
Marga
Rick de Leeuw ...
Himself
Don Duyns ...
Duyns, Don
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Storyline

The Sea That Thinks is a surprising film about itself. A film overflowing with twists and turns and new angles. It focuses on Bart, a scriptwriter who is writing the script for this film. In the film, Bart himself plays the scriptwriter writing the script of The Sea That Thinks. He types what he does and does what he types. In his film, he finds the answer to the urgent question: How do we find happiness? He uses stunning examples to show us that our world is only to be found in our consciousness. What is real and what is illusion? Do we believe in our dream world while we dream? Do we believe in the reality of film while we see it? And why? His combination of pictures and text has a hypnotic effect on the viewer. It provides an exciting, dislocating and humorous adventure. Later it also becomes apparent that the film is not about this tormented scriptwriter at all. In a game filled with optical illusions and continually changing points of view, the surprised viewers gradually find ... Written by Gert de Graaff <gdg@nl.packardbell.org>

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What do you think you see? What do you think you are? See more »


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Release Date:

21 December 2000 (Netherlands)  »

Also Known As:

A gondolkodó tenger  »

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1.33 : 1
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Did You Know?

Connections

Features Tokyo-Ga (1985) See more »

Soundtracks

Brandenburg Concerto no. 2 in F majeur
by Johann Sebastian Bach
In Gabriel's Garden
English Chamber Orchestra
Wynton Marsalis - trumpet
Cho-Liang Lin - violin
William Bennett - flute
Neal Black - oboe
Sony Classics
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User Reviews

 
reality or illusion? this film asks, and SHOWS the answer
26 December 2000 | by (Amsterdam, Netherlands) – See all my reviews

to communicate in film essential things of life - like what is life, does it have a meaning? - is sheer impossible. Of course possible answers to these questions are demonstrated in every film (story), but communication needs a direct appeal to consciousness. This happens if the input from the senses overrules the "input" from our mind, i.e. our thoughts. Few directors know how to communicate essential things. Tarkovsky, is one. His "Stalker" shows images of existence, communicates life as it shows itself and yet escapes your mind. I think De Zee and De Graaff do the same.


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