Uma mulher que, junto com seu filho recém-nascido, tenta encontrar o caminho de volta para casa em meio a uma crise ambiental que submerge Londres nas águas das enchentes e vê uma jovem famí... Ler tudoUma mulher que, junto com seu filho recém-nascido, tenta encontrar o caminho de volta para casa em meio a uma crise ambiental que submerge Londres nas águas das enchentes e vê uma jovem família ser destruída pelo caos.Uma mulher que, junto com seu filho recém-nascido, tenta encontrar o caminho de volta para casa em meio a uma crise ambiental que submerge Londres nas águas das enchentes e vê uma jovem família ser destruída pelo caos.
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This is Jody Comer's film throughout: the camera hardly leaves her from start to finish. Its a low-budget disaster/dystopia movie with some obvious references to climate change and how it could impact on ordinary people and society. The End We Start From isn't a classic disaster movie with overused CGI, a cast of thousands and a budget running into several hundred millions (thankfully) Its an insular, intimate portrait of one woman and her newly born baby trying to survive a terrible natural disaster and on this level, it largely works.
Comer gets some sterling, if fleeting acting support from Joel Fry, Katherine Waterson, Benedict Cumberbatch and Mark Strong, yet every scene is a platform for her acting ability. Sometimes she says nothing at all, just shows some wonderful maternal love and support for her infant and displays a naturalistic presence in the face of hopelessness.
The movie itself is sparse to say the least. It just about gets across the message of how things could be in this type of situation. However, many scenes are far too abstract and simplistic. A little more context is required, even just a background radio giving out emergency bulletins or a broken road sign along a soggy road to give some geographical placing. Society breaks down, as it inevitably would and the Brits show their legendary stoicism, but it's all on one level, not much horror and no humour - both essential in any successful disaster, dystopian movie; it borders on the boring.
In the end the excellent Comer pulls it through.
Comer gets some sterling, if fleeting acting support from Joel Fry, Katherine Waterson, Benedict Cumberbatch and Mark Strong, yet every scene is a platform for her acting ability. Sometimes she says nothing at all, just shows some wonderful maternal love and support for her infant and displays a naturalistic presence in the face of hopelessness.
The movie itself is sparse to say the least. It just about gets across the message of how things could be in this type of situation. However, many scenes are far too abstract and simplistic. A little more context is required, even just a background radio giving out emergency bulletins or a broken road sign along a soggy road to give some geographical placing. Society breaks down, as it inevitably would and the Brits show their legendary stoicism, but it's all on one level, not much horror and no humour - both essential in any successful disaster, dystopian movie; it borders on the boring.
In the end the excellent Comer pulls it through.
Wikipedia told me this was a story about a woman escaping London after an ecological disaster wipes out 99% of humanity. This is definitely not true. Poignant, but not really a disaster flick. If you are a sicko like me and love scenes of destroyed, ruined cities and absolute destruction, there are very few of those and the movie does not lean on them at all.
Other than that, Jodie Comer is great, and I thought Waterston was great as well. If you want to see a young mum of a newborn getting stuff done and developing her own agency as both a mother and a woman while dealing with ecological disaster, this will do nicely.
Other than that, Jodie Comer is great, and I thought Waterston was great as well. If you want to see a young mum of a newborn getting stuff done and developing her own agency as both a mother and a woman while dealing with ecological disaster, this will do nicely.
With a fairly biblical storm raging outside, an heavily pregnant mother (Jodie Comer) is sitting at home watching the telly. Power goes out, waters break then the struggle to get boyfriend (Joel Fry) and ambulance to hospital is the start of their woes. Leaving, they discover that huge swathes of England are under water so they head to higher ground and his parents. Fortunately, they have had a long ridiculed bit of a siege mentality so there's plenty of food but that's about all as the family units begin to disintegrate, just as society is doing at large elsewhere. The couple become separated and the un-named mother must now find safety for herself and her baby until some form of normality returns. This is another hugely emotional effort from Comer with Fry, a fleetingly potent contribution from Benedict Cumberbatch and a strong role for new-found friend Katherine Waterson working well, too. The story though - well it reminded me a little of "Children of Men" (2006). A rather depressing and dreary chronology - augmented with some flashbacks of happier days - of how individuals deal with disaster, be they self induced or imposed, and I struggled to remain engaged as the narrative lumbered along. The direction and the score are also fairly lacklustre. One too many shots of cars driving along, of mother carrying baby, cheering baby, nursing baby - and talking of the baby, boy does it age! If it's meant to be a very personal, intimate even, indictment of mankind's inhumanity to itself when facing desperation then it just about works, anything else was rather wasted on me, I'm afraid.
Like all the best disaster movies, The End We Start From understands that the most important aspect is making sure you care about the people who are trying to survive this possible apocalypse. Whilst it has its fair share of bleak moments, showing how quickly and violently civilisation can crumble, it's ultimately a hopeful disaster movie.
Jodie Comer is absolutely phenomenal in her finest cinematic showcase to date. She displays a whole range of emotions from the unbridled joy of having a child to the fear of never feeling truly safe in a constantly changing environment whilst having a really beautiful friendship with a super likeable Catherine Waterston. Her chemistry with Joel Fry is also endearing.
Mahalia Belo's direction can show the brutality of this changed world without wallowing in misery. The scale is pretty impressive, especially considering the low budget and it ends on a final shot that makes the whole thing coalesce. The score by Anna Meredith really stands out because it doesn't sound like anything else in the genre. It's so modern and understated.
Jodie Comer is absolutely phenomenal in her finest cinematic showcase to date. She displays a whole range of emotions from the unbridled joy of having a child to the fear of never feeling truly safe in a constantly changing environment whilst having a really beautiful friendship with a super likeable Catherine Waterston. Her chemistry with Joel Fry is also endearing.
Mahalia Belo's direction can show the brutality of this changed world without wallowing in misery. The scale is pretty impressive, especially considering the low budget and it ends on a final shot that makes the whole thing coalesce. The score by Anna Meredith really stands out because it doesn't sound like anything else in the genre. It's so modern and understated.
Far better than the reviews suggest, this is a well made indie climate fiction road movie in a similar style to 28 Days Later and Children of Men. But unlike those two excellent films, this is a character driven and a more ambient experience. It still follows a linear plot and is not what I would describe as overly art house (think Terrence Mallick) but I can understand why it might be a little slow and non-immediate for some. But it is a beautifully shot movie with great performances and a standout turn by the excellent Jodie Comer, who displays believable strength and vulnerability in a story that steers clear of contrivance, cliche, and convenience.
Você sabia?
- CuriosidadesFollowing a number of stalking incidents, including one that allegedly occurred on the set, Jodie Comer was fearing for her own safety. Co-star and executive producer Benedict Cumberbatch recommended a bodyguard who had previously looked after him, and the producers took an extra effort to make sure that everyone on the set was safe.
- ConexõesReferenced in Brad Tries Podcasting: Baby Takes Flight (2024)
- Trilhas sonorasMission Desire
Performed by Jane Weaver
Written by Jane Weaver
Published by Heavenly Songs Ltd
Administered by Bucks Music Group Ltd
Courtesy of Finders Keepers Records Ltd
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Bilheteria
- Orçamento
- US$ 10.000.000 (estimativa)
- Faturamento bruto mundial
- US$ 1.521.981
- Tempo de duração1 hora 42 minutos
- Cor
- Proporção
- 2.39 : 1
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