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Let's put it straight:the screenplay of "la red" is trite to a why is it so mesmerizing? It must be the ,it's a splendor: few directors can take advantage of the seaside landscapes as Emilio Fernandez did:think Lean' s "Ryan's daughter" or Jean Grémillon's "Remorques".Some will say that the symbolism -a breaker- is director was probably influenced by Bunuel for symbols 's a big difference though:whereas Bunuel's obsessions often deal with sex cum religion,"la red" is thoroughly Podesta epitomizes some kind of Goddess,of Eve before the fall .A Madonna's face but a sensual body and a false innocence :it was not surprising Robert Wise would cast her as Helen of Troy. Even more disturbing than the threatening omnipresence of the sea is the script: 75% of "la red " is devoid of any and smiles tell everything (the meal is a good example) Two males and a female ,that's no good,one character are caught up in "the net " (the beach ) ,a dead only way to get out of this world is the sea. 第6届戛纳电影节 主竞赛单元 金棕榈奖(提名) Emilio Fernandez 第6届戛纳电影节 国际奖 Best Visual Narration 埃米利奥·费尔南德斯

又名：海角情潮