Accompanied by guitar music composed by the Argentine Gustavo Santaolalla – who is known for his film scores for Alejandro González Iñárritu – it sets a quiet pace with a dreamlike quality. This quality is further enhanced by the lack of any sounds from the environments shown in the images. As I have noted elsewhere (Flückiger, 2001: 397) this absence of environmental sounds marks a detachment of the character from the world he or she inhabits, be it euphoric (as is often the case in American montage sequences) or dysphoric (as in nightmares or borderline experiences)
