Yes exactly. The first funeral home scene really sells the dead inside misery for me. The scene with Rampling where you can’t quite tell if he has a little spark left and really does believe in juries or if he’s just trying to get over with her is a model of ambiguity. Great performance.

and i have to mention the scene with the polaroids, which is just incredible. as the picture comes into view you see — he sees! — that this girl is really dead, but that he is actually alive, and can do something about it. absolutely magical bit of filmmaking.