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I do want to hop back to the tunnel scene because I agree with you. I do think it's the

most effective part of the film. And one of the reasons that I think it works so effectively

is because Garland really stretches it out. Like,

that sequence is drawn out where we see her approach the tunnel. She pauses. She tries the

echo. She moves in deeper. She does it again. She harmonizes with herself, which I love that it

becomes a part of the score as the movie goes on fucking inspires.

Yeah, love that.

But also just the sheer panic.

Like this is in the trailer, so I had already seen this.

I knew what was coming.

But just the moment where a woman speaks and then we see a man or the shape of a man come out of the rubble and like we're just seeing

the silhouette and he just starts running.

Running towards her.

Holy fuck.

And I feel like that's one of those moments where a lot of the women in the audience are like,

yeah, this is my worst fucking nightmare.

I'm just out on a walk and a man starts running full speed at me for no reason.

...