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.
- Prêmios
- 9 indicações no total
- Direção
- Roteiristas
- Elenco e equipe completos
- Produção, bilheteria e muito mais no IMDbPro
Avaliações em destaque
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.
Society is thrown into chaos after a natural disaster, a woman faces a huge challenge to keep her new born baby safe.
It's a film that's hard to hate, but virtually impossible to love, it promised so much, but offered relatively little.
It's a disaster story, but not a disaster movie, the focus is very much on the mother, and motherhood, we learn relatively noting about the disaster, it's just a talking point for that most part.
You can't argue with the acting, Jodie Comer and Joel Fry are both very good, but the script could have been a little sharper, and a bit more interesting, it's a little disjointed.
It's watchable, it has some interesting elements, but ultimately it was a little disappointing, and that ending, it reminded me of that hilarious ending from The Day after tomorrow.
Mehhh.
6/10.
It's a film that's hard to hate, but virtually impossible to love, it promised so much, but offered relatively little.
It's a disaster story, but not a disaster movie, the focus is very much on the mother, and motherhood, we learn relatively noting about the disaster, it's just a talking point for that most part.
You can't argue with the acting, Jodie Comer and Joel Fry are both very good, but the script could have been a little sharper, and a bit more interesting, it's a little disjointed.
It's watchable, it has some interesting elements, but ultimately it was a little disappointing, and that ending, it reminded me of that hilarious ending from The Day after tomorrow.
Mehhh.
6/10.
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.
A woman tries to find her way home with her newborn while an environmental crisis submerges London in floodwaters.
I think this film does not know what it wants to be. It's very pretentious, with lots of sombre scenes that don't mean anything, to a far-too-loud score that is overly dramatic, to interactions that don't really mean anything.
It hints at times of the breakdown of society, and the lack of Govt strategy to deal with the problem, and the stoical resolve some people show in getting back to normal. But they are inferred by me rather than implied by the film. I think if the film has a point then it is only one that was invented by the watcher to make sense of it.
The acting isn't too bad throughout but I don't think they really have much to work with. There's very little dialogue and much of what there is can be confusing. Interactions between people seem to be standalone murals which the director hopes look impressive but have no real connection to the story. There's also some very weak plot lines which seem to go nowhere and it feels as if they were just an idea that didn't last.
I watched it simply because Jody Comer put her name to it and I expected it to shine because of her but sadly, I think she picked a pig in a poke with this one.
It's not vile, it's not dire, it's simply not very good. The worst thing is it is tedious and monotonous including having to turn the volume down all the time for the silly soundtrack and then back up again for the dialogue.
It's not the worst film I've ever seen but I won't ever feel the need to watch it again.
I think this film does not know what it wants to be. It's very pretentious, with lots of sombre scenes that don't mean anything, to a far-too-loud score that is overly dramatic, to interactions that don't really mean anything.
It hints at times of the breakdown of society, and the lack of Govt strategy to deal with the problem, and the stoical resolve some people show in getting back to normal. But they are inferred by me rather than implied by the film. I think if the film has a point then it is only one that was invented by the watcher to make sense of it.
The acting isn't too bad throughout but I don't think they really have much to work with. There's very little dialogue and much of what there is can be confusing. Interactions between people seem to be standalone murals which the director hopes look impressive but have no real connection to the story. There's also some very weak plot lines which seem to go nowhere and it feels as if they were just an idea that didn't last.
I watched it simply because Jody Comer put her name to it and I expected it to shine because of her but sadly, I think she picked a pig in a poke with this one.
It's not vile, it's not dire, it's simply not very good. The worst thing is it is tedious and monotonous including having to turn the volume down all the time for the silly soundtrack and then back up again for the dialogue.
It's not the worst film I've ever seen but I won't ever feel the need to watch it again.
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
Principais escolhas
Faça login para avaliar e ver a lista de recomendações personalizadas
- How long is The End We Start From?Fornecido pela Alexa
Detalhes
- Data de lançamento
- Países de origem
- Idioma
- Também conhecido como
- El final del que partimos
- Locações de filme
- Empresas de produção
- Consulte mais créditos da empresa na IMDbPro
Bilheteria
- Orçamento
- US$ 10.000.000 (estimativa)
- Faturamento bruto mundial
- US$ 1.521.981
- Tempo de duração
- 1 h 42 min(102 min)
- Cor
- Proporção
- 2.39 : 1
Contribua para esta página
Sugerir uma alteração ou adicionar conteúdo ausente