The End We Start From: Mark Kermode’s science fiction film review (video).
Mark Kermode pops by for some more SF-fictional movie review action. In the ever-expanding catalogue of apocalyptic cinema, The End We Start From arrives as a refreshing, if somewhat damp, gust of fresh air. Mahalia Belo, in her feature film debut, wades into the flooded streets of London with a narrative that is as much about rebirth as it is about survival.
Adapted from Megan Hunter’s novel by Alice Birch, the film’s central premise is deceptively simple: London is submerged under water, and a new mother, played with a poignant blend of vulnerability and resilience by Jodie Comer, must navigate this aquatic dystopia with her infant in tow. However, it’s the execution of this premise that truly sets the film apart.
Belo’s direction is a masterclass in restraint. Where Hollywood might have given us sweeping shots of destruction and chaos, The End We Start From presents a more intimate apocalypse. It’s the small, quiet moments that Belo captures so effectively – a tin of food being opened, a stolen glance between mother and child – that build a world more deeply affecting than any amount of CGI destruction could. Jodie Comer, in what is arguably a career-defining role, brings a raw, almost primal intensity to her portrayal of the unnamed mother. Her journey northward is less a physical trek and more an emotional odyssey. Comer’s performance is beautifully complemented by Katherine Waterston, who, as fellow mother O, adds a layer of quiet strength to the narrative.
The film’s supporting cast, including Benedict Cumberbatch, Mark Strong, and Joel Fry, though not front and centre, contribute to the rich tapestry of this drowned world. But make no mistake, this is Comer’s film through and through.
Belo’s Britain is a character in its own right – a waterlogged realm where humanity clings to survival. The cinematography, led by Suzie Lavelle, captures this new world with a palette that is at once bleak and stunning. The use of natural lighting and close-up shots create an almost claustrophobic intimacy, drawing the viewer deeper into the submerged heart of London.
The script, penned by Birch, is taut and lyrical, often veering into poetic territory. Yet, it never loses sight of the urgency and desperation of its setting. It’s a delicate balancing act – one that Birch navigates with a deft hand. Of course, no review of The End We Start From would be complete without acknowledging the film’s poignant commentary on climate change. It’s a timely, and somewhat terrifying, reminder of the fragility of our existence in the face of nature’s unbridled power.
In conclusion, The End We Start From is a film that submerges you in its world, not through the spectacle of destruction, but through the power of its human story. It’s a testament to the strength of the human spirit in the face of overwhelming odds. Belo and her team have crafted a film that is at once haunting, beautiful, and unapologetically human. It’s a film that doesn’t just ask you to watch – it demands that you feel.
