Shark Movie Review: The Reef (2010) – The Daily Jaws

It would be fair to say that I’ve made fun of the first two films I have reviewed, namely Mako and Cruel Jaws. Mako had it’s moments whilst Cruel Jaws stole it’s moments from other films but they aren’t films that can be taken entirely seriously. The Reef does not fit into that category. It is an unusual shark film in some ways.
For one, the human beings in the story are miles from land for the vast majority of the film. This is unlike almost every other shark film out there. The main reason for this is humans inhabit land rather than water. It is simply unusual for humans to encounter sharks for this reason. Another reason however is that it would shorten the length of many shark films by about 95% were the people involved to find themselves miles from safety.
The Reef does the opposite and shows remarkable restraint for a shark film. Could you imagine the Shark Attack series or Deep Blue Sea having five people dropped in the middle of the ocean surrounded by the sharks from those films and not having them torn to shreds almost straight away? The sharks in Deep Blue Sea may have figured out how to cook their food but way out to sea I doubt they’d waste any time salt-curing their dinner.
However, this film, from Australian director Andrew Traucki, sees a group of five friends/ lovers stranded in shark infested waters and faced with a difficult choice – literally sink or swim. This dilemma actually has its basis in real life. Usually when films claim that it depicts events based on real life, it is actually a ploy to make the viewer see the film as more realistic.
For example, horror classic The Texas Chainsaw Massacre claims that, ‘The film which you are about to see is an account of the tragedy which befell a group of five youths….’ This is not true whatsoever but it did help the film gain a wider audience and, even now, people believe that line. The film was influenced by the crimes of Ed Gein (inspiration for other horror films such as Psycho and Silence of the Lambs) and Dean Corll but the true story line was actually inspired by misinformation around the Watergate scandal, the oil crisis of the time and the conduct of American soldiers in Vietnam. Fake news is not a recent invention.
In the case of The Reef, it is based on the real life case of Ray Boundy, Dennis Murphy and Linda Horton. Whilst there are some differences in the plot the premise of people ending up in the ocean is taken from the incident. The trio were working on a trawler about 90km east of Townsville, Australia in 1983 when their boat capsized. A 5 metre tiger shark appeared on the scene 24 hours after they initially went into the water and first went for Murphy, who bravely told Horton and Boundy to separate themselves from him in the hopes that the shark would leave them alone. Murphy disappeared under the water and was not seen again.
However, his plan did not spare the lives of both his companions. The tiger shark returned and took Horton too after Boundy had kept her afloat for hours. Boundy swam as fast as he could to a nearby reef but not before being bitten. Mr Boundy escaped by kicking the shark and was rescued around 36 hours after entering the water.
Ray Boundy was not positive about the film being made and was understandably traumatised by the events of July 1983. For his part, Traucki had used real life events in a previous film, Black Water, which was based on a crocodile attack in similarly harrowing
circumstances on the Finniss river in 2003. Traucki said when The Reef was released in 2010,”I find true survival stories fascinating… reality is far more intriguing than fiction.”
I’ve seen this film three times before (albeit not for a few years) and I remember being very impressed by it previously. It is not like Cruel Jaws with its footage stolen from other films. Nor is it like Mako with it’s camp charm. It isn’t really like any shark film I’ve ever seen, with the possible exception of Open Water although I have only seen that film once when it first came out (I was on one of the worst dates I’ve ever been on at the time so I don’t have fond memories). With all that in mind – apart from the terrible dating experience which I continue to try and purge from my brain – it’s time to explore The Reef.

Our story begins with some unnerving music and beautiful shots of a huge reef (and that based on true events line). The opening credits actually give a good indication of how the film is shot as the camera hovers near the surface of the ocean, occasionally breaking through the surf. I must admit that the bubbles in the opening scene gave the impression that something could be behind them, demonstrating two things. Firstly, it goes to show how easy it would be for something predatory to appear out of nowhere in the ocean. Secondly, it just goes to show that our minds can create way more horrifying things than those that are actually there in plain sight. Whether or not this effect was intentional it sets us up nicely for the rest of the film.
The next scene gives us our first sighting of terra firma and the majority of the cast. Luke, played by Damian Walshe-Howling is waiting at an airport to meet Matt (Gyton Grantley), his girlfriend Suzie (Adrienne Pickering) and Matt’s sister Kate (Zoe Naylor). Luke and Kate used to be partners although we don’t find that out just yet (so don’t tell anyone that I told you) and, now that they’ve broken up, Luke delivers luxury boats all over the world. Yep, apparently that’s a job that you can do.
Luke drives the new arrivals to a bay and tells Matt and Suzie that his friend Wazza (Kieran Darcy- Smith) is somewhere around and they could introduce themselves. Kate stays behind to walk with Luke to fetch some spark plugs, perhaps hoping to ignite the romance between the pair again. We then meet Shane (Mark Simpson), the one character of six in the entire film to stay behind. We see the most Australian headline ever in a newspaper clipping that has been hung up on the wall – ‘Diver Attacks Great White’ – and numerous shark jaws surrounding it. Shane tells Kate what they all are. There is a tiger shark, hammerhead, mako and a white pointer, the Australian name for great whites.
I had always assumed this was due to their pointed snout but my research brought up other suggestions such as a white tip on the dorsal fin. As I’ve never seen that colour on the dorsal fin of those sharks I can only assume that the shark that person was talking about was actually another species. Shane tells Kate that all those jaws were caught ‘out there’ and comments on how it was strange that the white pointer had come this far north. I’m sure that won’t be relevant to this story though.
We meet the final member of our ensemble, Wazza (Warren to his parents), and Luke shows Kate around the boat they’ll be travelling on. Kate gives him what I hope is a large sausage and the two
share an awkward moment. Kate tells Luke she misses him and Matt is a little confused by this. After a little more awkwardness, Luke leaves and Warren tells Kate that they are all off to Indonesia. With that, they’re off and away.
Warren is left behind on the boat whilst the other four head off to an island in the middle of nowhere. Three of the four get into the water for some snorkelling (only Luke stays on board the dinghy) and we see some wonderful underwater footage of an ocean teeming with life. We also see what I think is a blacktip shark, a species that is responsible for many bites of humans, none of which have been fatal. The fish begin to clear and again we get a sense of how little chance a human would have to react to a sudden attack from a predator. As if to prove the point we get our first jump scare when Luke frightens Kate by grabbing her from behind.
Luke and Kate share a kiss and Luke is confused again. He says that Kate is scared of the idea of them being together but she denies this. They seem to be about to argue but have to get back to the boat as the ride is dropping fast. On the way, they hit the bottom of the ocean and the dinghy is leaking, never a good thing. They make it back to the yacht but the engine isn’t starting. Luke steers them out of trouble and leaves Cap’n Kate to take over steering duties whilst he and Warren look at the engine.
A massive moon guides them through the night and into the next morning when Kate and Luke apologise to each other for arguing the day before. They say that they missed each other again and Luke offers to cook breakfast. As he is working out whether to open the one tin of baked beans on board, disaster strikes and the boat is overturned when it hits a large block of coral. Kate is trapped by a rope and Luke and Suzie are stuck in the now upside down cabin. Warren surfaces and that just leaves Matt. Matt got trapped in the bathroom and is rescued by Luke. The group get out of the water and the reality of their situation starts to hit home. The keel has been ripped clean off, they are nursing injuries and there is no land in sight.
Luke says that the current is taking them further out to sea and the boat is sinking. He suggests swimming for it as, if they do sink, they’ll just end up in the water further out to sea. Warren seems hesitant to get in and retorts that the boat might not sink. When Luke says they should swim for Turtle Island, Warren flat out refuses. Luke says it will be a 10 to 12 mile swim and Warren wishes them luck, saying he has fished the waters and knows what’s out there. Warren will not go into the ocean. Luke tries to argue but Warren won’t and to be honest, I don’t blame him. In a country where everything from the spiders upwards are deadly there is not a chance that I would get into the water.
Luke points out that the rest of them need to make up their minds as they will be left facing dehydration even if the boat does stay afloat. They’ll also need someone to come and rescue them, a big ask in such a colossal desert of water. Suzie and Matt aren’t strong swimmers so Luke fetches some items to take with them from the cabin whilst Matt waits in the water just outside to grab anything he finds. He comes across some flippers but then hears banging and voices from above. It sounds a lot like they are shouting shark in the water but I can’t be certain. Grabbing what few floats he can find, Luke surfaces. Warren tells him something big appeared nearby. Luke still needs to find more gear from below and so tells them not to warn him unless they see a big shark before diving once more.
There is bumping on the side of the boat but it is a false alarm. Luke pulls something else useful (I think it is an alarm to signal passing planes) but the bumping continues. Luke goes to leave the cabin, again checking for any danger. We get another jump scare when some large fish swim by but
none of them are deadly to humans. I must say that the film is doing a very good job of building tension and it’s not even half an hour in. This is what so many Jaws copies fail to achieve. Even if we have a good idea of what is going to happen, make the journey there interesting and engaging.
Back on top of the boat, Luke hands out items that he found – the alarm thing to Warren and wetsuits to Matt, Suzie and Kate. Warren tells Suzie that she’ll look like a seal and that sharks like seals. The idea of mistaken identity is actually debated. On the one hand it is easy to see how a shark attacking from below could mistake a human in a wetsuit for a seal and may also explain why sharks tend to let go after biting a human. However, humans do not move or smell like seals (bear in mind that sharks can smell a drop of blood from hundreds of metres away). Sharks may take exploratory bites, which would explain letting go after sinking their teeth into a human. They aren’t necessarily predating.
Research by Erich Ritter and Alexandra Quester found that not only does the bite pressure from attacks on people on surfboards not match that which would be required to stun or kill a pinniped but that the size of the sharks attacking the surfers tended to be different to those which attacked seals and sealions, meaning that juvenile sharks (which struggle to hunt pinnipeds) were more likely to be responsible for attacks on surfboards (75% of the sharks counted in the study were 2.5-4.5 metres long). This backs up the exploratory bite idea.
However, the downside of being ‘explored’ is still massive tissue destruction and so I doubt it is any consolation for the poor creature, human or otherwise, being tested.
The rest of the group decide what they’re doing. Matt and Suzie decide to go with Luke whilst Kate wants to stay on the boat rather than ‘swimming to an island you can’t see.’ Luke leaves some water for them and they kiss goodbye. The rest of the group say their respective goodbyes but Matt hasn’t given up on bringing his sister along. She tearfully refuses and, again, I completely understand why you wouldn’t want to get into that water.
Matt, Suzie and Luke enter the water and they set off, swimming nervously with Luke keeping an eye on the murky depths below. Matt tells the other two off for splashing (this can sound like a distressed fish to a shark) and then Kate decides she is going to come too. Warren still refuses, clearly terrified of what is out there. Warren’s point blank refusal to consider swimming for safety when the alternative is near certain death really adds to the tension. At this point, it seems he is choosing a slow, drawn out and lonely death over potentially staying alive. The group swim off, Warren watching on from the capsized hull.
The four swimmers try to keep their spirits up by imagining beds and sex but their fun times are over quickly when Suzie wonders what something off screen is. Something keeps breaking the surface but we don’t get to see what it is. Luke wants them to keep going but a little further on they see something large floating ahead. It is a huge turtle shell. Matt goes ahead to see what it is but Luke calls him back and the group go together. Turning the shell around, the group jumps when they see the turtle has been decapitated. I could’ve sworn that years ago I read an article about sharks in South Africa which were found to be practising hunting and that headless seals were turning up en masse as a result. Observers had realised they were practising as most of the seals were not being devoured. If anyone has information on this, whether correct or otherwise I’d like to hear it. My own research drew a blank unfortunately.
The headless turtle scares the group into going a little faster but Suzie is very afraid of what she’s seen. She doesn’t want to stretch her legs out so Luke nobly offers to swim behind her to assuage her concerns. Warren can still just about see them and is debating whether to set off his alarm when he hears splashing around the boat. Something large and finny with a white underbelly is below the waves.
I should say at this point that the upcoming scene comes with a bit of a warning from me. I have seen this film three times before watching for this review. The second time I watched the film, I had to stop watching and come back to it the next day due to its depiction of two of the characters becoming traumatised (I have suffered with PTSD in the past). If you think this may be an issue the scene finishes at around the 57 minute mark. What I will say is that reaction is a testament to the acting in this scene, which feels very real and I think most people could imagine feeling and behaving the way the characters do in this situation. For example, Luke is trying to keep calm as he is the most experienced in the water whilst Suzie is the biggest fish out of water (sorry) and is the most unnerved.
Suzie has again seen something in the distance and is starting to scare the others by saying that something is following them. The group doesn’t believe her at first but we hear some splashing nearby and the group quickly become believers. Luke puts his goggles on and scans beneath the water. He sees a shadow but is unable (or perhaps unwilling) to identify it as a shark.
We see the group from below, in a tightly knit circle (the correct way to be in that situation) and Luke scans again. We see the shadow become fully formed into a large great white. One of the best parts of this film is the use of real great whites and the first time I saw the film I marvelled at how the film had been shot. More on this as we go on.
Luke confirms their worst fears are true and the group become more edgy. A dorsal fin sails past before some more underwater shots and it looks SO REAL! Footage of the shark has been combined with footage of the swimmers and it looks as though they are only metres apart. It is magnificently done – the best shots of this type in any shark film I have ever seen, bar none.
The shark appears to be circling, leaving and then returning and showing generally inquisitive behaviour towards the arrivals in it’s habitat, swimming closer and closer, turning towards the group and then away. Either they got some great shots when filming for this part or the director is a shark whisperer to an extent that would make Sonny from Mako jealous.
Luke keeps saying that it has gone when clearly it hasn’t. Each time he says it’s gone, the fin appears on the surface. I suppose fins are crucial to building the suspense in shark films. Whilst we know what the fin means we still can’t see the creature in its complete scale. Thus we can know we are watching a shark film without seeing the shark – it remains an unknown. Spielberg knew this and used it just before the attack in The Pond in Jaws.
By this point, Suzie is beyond terrified and is now hyperventilating. The other three are relatively calm given the circumstances but the shark then lunges past them (this is one of the times that computer graphics are used and I could only tell because I paused the film). Kate is now also traumatised and shock seems to be setting in. She was the closest to the shark when it leapt out of the water. I must admit I haven’t heard of sharks behaving like this around humans. My understanding was that attacks tended to come from below and that the human involved wouldn’t
know until in the jaws of the shark, although the breaching that you see in films like The Shallows is also supposed to be unusual.
When the shark broke the surface Matt lost his float and it is now bobbing away from the group. Seeing that the shark has temporarily left them alone he swims to retrieve it, successfully doing so. However, he broke away from the group and anyone who has ever seen a horror film knows that is the same as ringing the dinner bell in this situation.
The shark attacks rapidly and ferociously, taking Matt underneath the surface, again with real shots of a great white attacking. Suzie screams for her boyfriend and he actually resurfaces but he is bleeding heavily and tells them his leg is gone. Matt tells them to leave him before the shark comes back then dies or falls unconscious in Luke’s arms. Kate says a tearful goodbye, leaves her brother in the red water and the remaining trio begin swimming away. Luke turns around in time to see Matt for one last time before the shark takes him.
Night falls and the group are still in the water with no sight of land. Surrounded by the darkness, Suzie seems to be slowly losing her mind, tormented by the hidden creature. She starts to get angry with Luke as (her words), ‘they are lost in the middle of the ocean in the middle of the f***ing night,’ and she questions why they ever left the boat. Luke is feeling guilty for getting them all into this situation, although I can’t say the boat capsizing was his fault (Kate was steering) or them getting into the water with him was either, as they chose to come. Survivors guilt can be a terrible thing and it is another aspect of the film’s psychology that I like. These are ordinary people in an extraordinary situation doing what they think it best to survive, behaving according to their personality.
A familiar splashing begins again. The trio become a tight nit circle again and Suzie begs for somebody to help them. The scene then cuts to morning and we see that all three are still afloat, sleeping in their paddle boards. Whatever was splashing left them alone. It is a strange cut that doesn’t make sense to me but as there isn’t much you can do with characters in the middle of the ocean perhaps it was put in for a bit of padding.
Kate is the first to wake and spots land. Luke looks underneath the water, which is sans shark but full of coral. It is surely too shallow for the shark to get them here. They even find a rock that means they can completely leave the water. Yet Suzie, in a terrible state the night before, wants to go on to the island in the distance. Matt checks below the surface again and the group set off.
Gingerly, the group move on but Kate might have spotted something. After scanning the ocean again, a fin appears. To their great relief it is only a dolphin. As long as it isn’t one of those killer dolphins from that Treehouse of Horror episode they should be okay. The group share a laugh and even the current is helping them now. Things are looking up. That is, until another fin appears. ‘Is that the dolphin?’ Suzie asks. No, Suzie. No, it isn’t.
The shark comes out of nowhere to attack and there is blood in the water again. And unfortunately for Suzie, it’s hers. Luke and Kate shout for her and she surfaces a moment later before being silently pulled under. Luke tries to find her amid the blood trail but neither she or the shark can be seen. He and Kate move on, resting on another rock and contemplating what they have just witnessed.
Kate begins to cry and Luke spots a float drifting past. Despite knowing that going after a float cost Matt his life, Luke still goes for it. He calmly swims back to the rock without being mauled and persuades an unwilling Kate to swim with him for the island. They leave the safety of the coral and are left swimming in deep, open ocean. Finding another rock they rest again but Kate’s foot is bleeding, never a good thing in the ocean, sharks or no sharks. The couple say that they love another and have an intimate moment before the final push.
We begin to see the duo from an underwater POV shot and previous experience tells us that means they are being watched. There is another shadow that shapeshifts into the shark. Again it is following them. Kate spots the predator sneaking up on them and the pair find themselves in a similar scenario to earlier, being circled by the shark that has taken their friends and relatives. Luke again watches underwater and this is also supposed to be a smart move in this situation as you are letting the shark know that it does not have the element of surprise over you, one of the advantages sharks like to have when going to bite something. Luke tells Kate to ‘f***ing swim!’ as though they hadn’t been doing that for some time now and tries to distract the shark with his pack. We see the shark come really close in another of those shots that must’ve been spliced together before turning away. The island is so close now.
Kate makes it first but can’t get up the slippery slope and out of the water. Luke isn’t far behind and tries to help her out, pushing her as hard as he can whilst the shark’s fin speeds along the surface. Eventually she manages to get out and Luke wants help getting out too. The shark has now turned towards them and is hurtling towards Luke. In a flash of teeth the shark grabs Luke, pulling him underwater. Kate screams for Luke but he doesn’t resurface. She begs him to come home but when he doesn’t appear, she breaks down in tears, having seen her boyfriend, brother and friend all brutally taken by the same shark that has chased her onto a lonely, nameless rock in the middle of the ocean.
Some of the same footage from the opening credits is played and over it we are told that Kate was rescued the next day by a fishing boat and rushed to hospital whilst Warren and the yacht were never found.
Quality of the shark/s: The best use of shark footage I have ever seen. I’ll be astounded if I see better in any of these reviews. The mixing of the images blew my mind the first time I saw this film and looking at some of the comments beneath the making of documentary available on YouTube, some members of the public actually believed that the sharks and the actors were in close proximity to one another. In particular, a shot that starts above the surface showing us the people and then descends beneath showing us the sharks near to their dangling legs is one of my favourite shots ever. Doug Bayne was credited with being the brains behind the visual effects and Traucki said that he and Bayne put in a lot of time working out how to direct the cast with the footage of the shark that they had captured, as the shark footage dictated what the actors would have to do. It certainly paid off.
Additionally, the use of a real great white throughout the film means that we get a properly sized shark. This is a welcome change to the oversized bath toys we see in many shark films. I’ve even seen people say The Meg isn’t particularly scary as, if anything, it is too big to be concerned with a small morsel like a human being – a little like living off Haribo perhaps, tasty but not particularly
nutritious. Why do sharks need to be abnormally large? This film proves that even when regularly sized they’d still scare the crap out of anyone in the vicinity. Bruce was still just about believable at 25 feet but by Jaws 3, the shark was meant to be 35 feet. Was it scarier for it? Nope.
Underwater Photography: As I might have mentioned, Australian animals can be pretty deadly. That’s not to say however that the flora and fauna there are horrible to look at as, for the most part, they can actually be stunningly beautiful, although you’ll never ever convince me that anything with eight legs is anything other than a monstrous freak sent from the depths of Hell. The underwater shots in this film showcase a lovely variety of animals, including the blacktip shark. However, as Matt says, there are a million things in the ocean so there was room for a bit more variety.
The photography of the shark really adds to the atmosphere of the film too but I won’t add much on for that as I mentioned it in the previous rating.
Suspense: I thought the film did very well to keep us in suspense. Despite being the usual feature film length, it felt to me as though the film had set up it’s premise fairly quickly. Warren’s reaction to the idea of going into the water once it was set up helped that along. The music was used sparingly but did assist the suspense. I particularly liked the eerie music over the opening credits that seemed to work well with what we were seeing on screen. By the time the final scene comes along the idea is perhaps a little overdone but each interaction with the shark is done slightly differently, allowing us to wonder if there would be survivors all the way until the final minute.
There are a few jump scares in there which give the film a horror feel. Some people won’t like this but personally I like a good jump scare. The producer Michael Robertson mentioned in the Making Of documentary that he felt as though Traucki was very good at getting viewers comfortable before utilising a sudden scare and then returning to viewer to their state of comfort shortly after to repeat the trick.
In that same documentary, some of the crew tell us their own shark stories and we get to see how the shark footage was shot. We also find out that Damian Walshe-Howling stepped on a stonefish three days into shooting the film. Stonefish are the most venomous fish in the world and can be fatal to humans despite being only 30-40cm on average. However, anti-venom can prevent death as can pouring hot water (over at least 45 °C/113 °F) on the wound, which can denature the venom and save the life of anyone unfortunate enough to be stung. Australian wildlife, eh. I feel like all these experiences contributed to the atmosphere we get in the film although the crew involved seemed to enjoy themselves and get along well.
Characters and story: It is difficult for me to score this. On the one hand, I think each of the characters had their merits and added to the story. For example, Luke brought the calm head in a weird situation whilst Kate was the final girl – a horror mainstay who survives the horror through a combination of luck and sheer will. Matt is the sacrificial lamb who is willing to give his own life to help the group whilst Susie is so terrified by what is happening that it is difficult to not sympathise with her. Even Warren adds to the menace by refusing to enter waters he has fished in for years.
That being said, I really loathe ‘couples reunite due to new outlook on life after facing peril’ subplots in films. I suspect it was that subplot that led to Susie getting munched before Luke as, when the shark attacks, Luke seems to be in the line of fire, only for us to discover that the shark got Susie instead. Perhaps that sort of thing is your cup of tea. I’m afraid it isn’t mine. The director said that he particularly liked that dimension to the script however so maybe you will too.
On the whole though, I genuinely rooted for these characters and they had a genuine choice to make when deciding whether to leave the boat or stay on it. Both choices are full of risk and it is worth noting that neither choice is necessarily the correct answer. The three who first enter the water end up dead and Warren, who stayed with the boat, is never seen again. In the Making Of documentary, Kieran Darcy-Smith (Warren) says that his character saw the choice as being akin to not leaving your car if you are stranded in the desert, perhaps an analogy that those of us in the UK wouldn’t fully understand but one that plenty in Australia may well do.
Watchability: I think the film flows well and I’d definitely recommend it to anyone who enjoys these types of films. The only issue is the scene I once had a problem with. With that being said, it isn’t an issue that will be a concern to the majority of people so I won’t bring the score down.
Other factors: Not a single Jaws reference here for us. Not one. Well done, Andrew Traucki. When I began these reviews I felt like Jaws references could be a plus but Cruel Jaws showed me that they could definitely be a negative too.
The music was minimal but I felt it added to the film for it’s sparsity. 4/5

Total – 41/50
This film was actually better than I remembered. Now I’m analysing films a little more I’m noticing certain things and this film had a couple of those moments for me. I’d rate this second only to Jaws in terms of shark films – we’ll see whether that holds up after a few more reviews. A lot of people put Jaws 2 or Deep Blue Sea in second place but I think this has much better pacing and suspense than Jaws 2. It has been a while since I saw Deep Blue Sea but I remember it losing me when Samuel L. Jackson got killed and after that I just couldn’t see it as a serious contender. In fact, remembering that scene now makes me think that it was at least as ridiculous as anything in any shark film I have ever seen, including Sharknado.
I wholeheartedly recommend this film to you, dear reader. It has everything you could possibly want from a shark film and, in some ways, even tops the king of shark films. The correct blend of mystery and realism from the shark as well as believable and sympathetic characters make for a harrowing story of survival. I can also recommend Traucki’s earlier crocodile film, Black Water. It is amazing to think that The Reef only had a limited release in Australia and went straight to DVD in the UK. It deserved a much wider audience.
Words by Jamie Tingle
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