Une femme et son nouveau-né tentent de retrouver le chemin de la maison alors qu'une crise environnementale submerge Londres et qu'une jeune famille est déchirée dans le chaos.Une femme et son nouveau-né tentent de retrouver le chemin de la maison alors qu'une crise environnementale submerge Londres et qu'une jeune famille est déchirée dans le chaos.Une femme et son nouveau-né tentent de retrouver le chemin de la maison alors qu'une crise environnementale submerge Londres et qu'une jeune famille est déchirée dans le chaos.
- Réalisation
- Scénario
- Casting principal
- Récompenses
- 9 nominations au total
Avis à la une
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.
I had been putting off watching The End We Start From for a few months, only because I knew that I needed to be in the right state of mind to take it all in.
I was not left disappointed. This British Indie disaster film is so quiet and understated, I can imagine if it had been done in America, it would have been quite over the top.
Jodie Comer is brilliant as a mother trying to get herself and her baby through the flooding disaster that has hit the UK. Separated from her partner she battles to keep them safe and battles with her memories to try and let go.
This is honestly an extraordinary film. I highly recommend it.
I was not left disappointed. This British Indie disaster film is so quiet and understated, I can imagine if it had been done in America, it would have been quite over the top.
Jodie Comer is brilliant as a mother trying to get herself and her baby through the flooding disaster that has hit the UK. Separated from her partner she battles to keep them safe and battles with her memories to try and let go.
This is honestly an extraordinary film. I highly recommend it.
The End We Start From hadn't been on my radar before and the trailer didn't give a huge amount away. I had no expectations but it wasn't a bad little film. It had a made for TV style and was clearly produced on a low budget. If you are expecting epic disaster or dramatic dystopian events then you will be disappointed. If you enjoyed 28 Days Later or How I Live Now then The End We Start From should be an enjoyable watch for you, although both those films are better than this. Jodie Comer is quite captivating but I feel like her big starring film role is yet to come. Luckily it wasn't overlong so it didn't drag on.
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.
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.
Le saviez-vous
- AnecdotesFollowing 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.
- ConnexionsReferenced in Brad Tries Podcasting: Baby Takes Flight (2024)
- Bandes originalesMission 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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- How long is The End We Start From?Alimenté par Alexa
Détails
Box-office
- Budget
- 10 000 000 $US (estimé)
- Montant brut mondial
- 1 521 981 $US
- Durée
- 1h 42min(102 min)
- Couleur
- Rapport de forme
- 2.39 : 1
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