The End We Start From (15, 101 Minutes)
If you think the weather’s bad at the moment, you should check out what Jodie Comer has to deal with in this fresh interpretation of ‘the end of days’, in which director Mahalia Belo cleverly opts for the use of a logical apocalypse in the shape of natural disasters as opposed to, say, fireballs shooting down from the sky or a giant spaceship blowing up the White House.
As a perpetual storm hits the United Kingdom, everything in the country – typically – breaks down and flood defenses are broken. London becomes a giant swimming pool, not like Tooting Bec Lido, more like what Ewan McGregor was looking at in The Impossible.
Adding to the catastrophe is the many hundreds of thousands of civilians who revert to a primal ‘every man for himself’ state of mind, though it’s really no different to morning rush hour on the tube.
Jodie Comer’s unnamed protagonist, cast simnply as Woman, has just had a baby. Worst time for it. What entails is a fight for survival, to reach a Utopia unknown for the sake of her child’s life.
Terrifying is probably the right word for this indictment of how unexpected a vast cataclysm on this scale can come about and our total lack of preparedness. What we may think is a strong defence is futile against the force of nature.
Comer is, as ever, top notch. She just seems incapable of putting in a turn that is anything less than excellent. Her performance is nuanced, deeply emotional and strong, rallying against the vulnerability new motherhood brings to protect the only thing she has left. No family, no home. Just her baby.
There are some fun, unexpected appearances from a few familiar faces but the less spoiled, the better their involvement will affect.
This is Children of Men for climate change era. A powerful, eye opening shocker to keep you on the edge of your seat.