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.