A newly married couple discovers disturbing, ghostly images in photographs they develop after a tragic accident. Fearing the manifestations may be connected, they investigate and learn that some mysteries are better left unsolved.
The violinist Sydney Wells has been blind since she was five years old due to an accident. She submits to a surgery of cornea transplantation to recover her vision, and while recovering from the operation, she realizes that she's having strange visions. With the support of Dr. Paul Faulkner, Sidney finds who the donor of her eyes and begins a journey to find out the truth behind her visions.Written by
Genesis Rojas, Caracas, Venezuela.
After she gets out of the shower, Sydney and Ana's reflections in the mirror don't completely match up. See more »
Teen on Skateboard:
Oh, shit. Thanks. I didn't see that.
Neither did I.
[voice-over while Sydney walks in the street and settles in a café]
People say seeing is believing, but for me, that's not entirely true. I lost my sight when I was five years old. Those memories of what I have seen have faded so much that I doubt I'd even recognize myself anymore. Now I see using my other senses. I can smell the rain before it drops, but I can't watch it fall. I can feel the sun on my face, but I can't see it rise...
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Alba reminds us that you may want to check where that donated organ came from.
Jessica Alba plays a woman who undergoes cornea transplants in a remake of a Chinese film of the same name.
The moment she opens her eyes she starts to see things that aren't there. These include (a) a number of grim reapers, (b) recently dead people, (c) vivid images of someone else's past premonitions, and (d) a director and editor who aren't sure whether their making a horror film, thriller or a 'who dunnit?'.
There is a faint oriental air to the film with does add a bit of mystery. This is essentially a relatively cheaply made Alba-vehicle. There is no-one else in it other than a periodically appearing sister and a doctor who you never quite get interested in as he has nothing of worth to say.
You do jump from minor shock every now and then (but then an unexpected rapid orchestral crescendo does that to most people).
The film is similar in feel to Sarah Michelle-Gellar's The Grudge. You are left with a similar feeling when you leave the cinema; a resigned "it was okay".
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