FLOW (2024) review
written by: Gints Zilbalodis and Matīss Kaža
produced by: Gints Zilbalodis, Matīss Kaža, Ron Dyens, and Gregory Zalcman
directed by: Gints Zilbalodis
rated: PG (peril and thematic elements)
runtime: 85 min.
U.S. release date: November 22, 2024
If you’ve grown tired of following anthropomorphic characters in animated films, “Flow” is for you. Latvian filmmaker Gints Zilbalodis co-wrote and directed this animal-centric adventure in a world without humans that has experienced a catastrophic flood. It’s an unusual story in that it lacks dialogue and humans, following a dark grey cat covering precarious terrain in a search for survival. Zilbalodis creates an artful endeavor that uses cinematic language to navigate an often intense story where the feline and its animal cohorts travel across mountains and waters with interesting twists and turns. Its story may be straightforward, but “Flow” asks viewers to rely more on their eyes to guide them, allowing visuals to tell an observational albeit harrowing tale of survival.
As the film opens, we’re introduced to Cat, who lives on their own in a largely abandoned sanctuary in an unknown part of the world (although there’s a resemblance to Southeast Asia), going out on adventures throughout the day and peacefully resting each night. One day, while searching the forest for something to eat, Cat is startled by a deer stampede, followed by a roaring tsunami that floods the entire area. Instinct kicks in, and Cat realizes the risks of rising waters, seeking solid ground wherever possible, gradually joined by a retriever Dog, Cabybara, Ring-tailed Lemur, and Secretarybird, all of whom must work out their natural differences and survive together with the common goal of safety and food. Cat eventually finds a boat they can float on, still seeking high ground despite the confusion and struggles amid their forced cohabitation.
Just as there is no explanation for why there are no humans, “Flow” also doesn’t provide any details about Earth’s status. Zilbalodis drops viewers into the environment without context, often viewing the world from Cat’s perspective but also moving the camera away from the feline and observing him from a distance or from above and below. There is evidence that some of the environments Cat moves through were once inhabited by humans. Yet we also see statues of felines nearby, including a giant one curiously left unfinished that might’ve been intended as a totem or as an emblem of worship. Maybe there was a feline versus human war in which the cats came out on top or landed fine on their feet as they often do. Only one cat exists in “Flow,” but because we see one and a pack of domestic-looking dogs, maybe we can assume that means there were indeed humans at one time residing in this area.
Most animal behavior in “Flow” is what we’d expect from the handful of species we see in the wild, but Zilbaodis also offers behavioral indications beyond that. For example, Dog understands the need to rely on others to survive, while Ring-tailed Lemur is more concerned with collecting human trinkets, often filling the boat. Secretarybird is irritable, unable to fly with his flock for some reason, but winds up helping the other creatures with their journey downstream. Their behavior is best understood by how they respond to sudden emergencies. One such example is when Cat falls into the water and has to sink or swim, eventually learning to fish in the water, providing sustenance for himself and the others. This “Show-Don’t-Tell” approach prevalent in “Flow” sets it apart from any recently released animated feature, relying on motion, momentum, and an audience it trusts.
Thankfully, Zilbalodis isn’t concerned with being too realistic, which shows in his storytelling and the animation style employed. There’s a sublime moment in which we’re taken to what could be considered a spiritual realm where Cat meets a gigantic whale when the underwater feline needs some deep sea assistance. The score, co-created by Zilbalodis and Rihards Zalupe during this sequence, is transportive, allowing viewers to contemplate and lean in a little closer. It’s impressive how much Zilbalodis does here for “Flow,” co-producing and editing the film and its cinematography. The latter requires the camera to swirl around the creatures and their environment, almost having its own personality as it becomes curious and distracted by various sounds or movements. Zilbalodis chooses long takes and what seems like hand-held camerawork, a unique and immersive approach to animation.
Surprisingly, Zilbalodis did not use storyboards in preparation for “Flow.” Using a free and open-source 3D computer program software program called Blender (often used for visual effects and video games), the director and his animation team experimented with design and movement, establishing a look that’s often quite phenomenal, but for the most part, it looks like it comes from a PS2 game environment with designs that could be more detailed for my liking. The animal designs also look too simplistic for my tastes, almost like they could’ve used more rendering to detail fur, whiskers, and feathers. There were definitely times when I noticed this style more than I wanted to, which took me out of the story.
I still wholeheartedly recommend the feature for the overall experience, but I can’t say I’m as sold on it as so many others are. I understand why so many are enraptured by “Flow” and am happy that it gives many a chance to see a different kind of animated story. Zilbalodis never hits us over the head with the lessons of persistence and unity, focusing rather on exploration and observation. Most of all, it’s great that it became the first film from Latvia to win an Oscar recently.
RATING: ***
