OVERLAY REPORT

In Alejandro Amenábar’s 1996 debut *Tesis* (Thesis), the tunnel sequence is a masterclass in using sound to generate suspense when the visual field is almost entirely obstructed. Because the scene takes place in near-total darkness, Amenábar shifts the narrative burden from the eyes to the ears, creating a claustrophobic, subjective experience for the audience. Here is how Amenábar specifically utilizes sound in that sequence: ### 1. The Rhythm of the Matches (Diegetic Punctuation) The most iconic auditory element of the tunnel sequence is the striking of matches. Since Ángela (Ana Torrent) is navigating the darkness, the sound of the match striking acts as a rhythmic "reset" for the tension. * **The Strike:** Each match strike provides a sharp, abrasive sound that breaks the silence. It signifies a momentary relief. * **The Hiss:** The low hiss of the flame burning provides a tiny pocket of auditory comfort. * **The Silence:** When the match goes out, Amenábar cuts the sound back to total silence or heavy breathing. This "stop-and-start" auditory pacing keeps the viewer on edge, mirroring Ángela’s vulnerability. ### 2. Subjective Breathing and Internalization Amenábar uses Ángela’s breathing as a primary narrative tool. As she goes deeper into the tunnels, her respiration is mixed higher in the soundscape. * **Hyper-awareness:** By making her breath loud and ragged, the director forces the audience into her physical state. You aren't just watching her; you are hearing her panic. * **The Contrast:** When she stops moving to listen for a potential pursuer, she (and the audience) attempts to hold her breath. This creates a vacuum of sound that makes the subsequent noises even more jarring. ### 3. Footsteps and Spatial Echo The tunnels are concrete and cavernous, and the sound design emphasizes the "slap" of footsteps. * **The Echo:** Amenábar uses reverb to suggest the scale of the darkness. You cannot see the walls, but through the decay of the footstep sounds, you understand the tunnels are vast and empty. * **Auditory Paranoia:** The sequence plays with the "echo vs. follower" trope. The sound of her own footsteps reflecting off the walls creates a psychological effect where Ángela (and the viewer) cannot tell if the sound they just heard was her own movement or someone else lurking in the dark. ### 4. Minimalist, Industrial Score Alejandro Amenábar composed the score for the film himself, which allowed for a seamless integration between the music and the sound effects. * **Low-Frequency Drones:** Rather than a melodic score, he uses low-frequency ambient drones that vibrate beneath the surface of the scene. This creates a physical sensation of dread in the theater or living room. * **Stinger Accents:** He uses sharp, dissonant electronic "stings" to coincide with sudden movements or flashes of light. These act as jump scares that are triggered by sound rather than visual gore. ### 5. The Absence of Sound (Negative Space) Perhaps the most effective use of sound in this sequence is its absence. Amenábar understands that in a thriller about snuff movies—where the "horror" is often about what is recorded—silence is the ultimate source of anxiety. In the tunnels, the silence represents the "unknown." By stripping away the score and leaving only the faint, gritty sounds of clothes rubbing or shoes shuffling, he grounds the scene in a terrifying realism. ### Summary In the tunnel sequence, Amenábar uses sound to **compensate for the protagonist's blindness.** He forces the audience to rely on Ángela’s ears, making every match strike a beacon of hope and every echoing footstep a potential threat. It turns the film from a visual medium into an aural experience of pure paranoia.