Seeing oneself in a mirror shows a tangible reality of one’s existence accompanied with a space, and even some clues as to how one might be perceived. It is through this gift of self consciousness that one can possibly develop compassion for everyone else who are burdened by the insatiable amalgamation of realities.
“Flow” directed by Gints Zilbalodis from Latvia, is an animal dialogue-free, 3DCG animated featured that starts and concludes with the animals looking at their reflection on a puddle. The type of show that is constructively built around language is Cinematic and these images are impressive and even emotional. What is between the two contemplative shots is the ocean called self and society.
At the Oscars, “Flow” was submitted as a “Best International Feature Film” and the story offers a profound outlook on life, love as well as selfless collaboration. Its vertical approach along with narrative flow develops a fable which seems ageless while broadening and increasing the depth of the experience being portrayed. “Flow” tells the story of an depressing world without humans starring a black cat who had a loving owner. Although this forest region was once home to humans, its likely safe to assume that we are in a posthuman timeline, and the Earth is recovering from human existence.
The cat becomes a survivor and embarks on a journey that changes everything after a colossal statue construct almost completely submerges which is thought to be a commemoration for cats. Furthermore, water begins to take over while floodwaters accumulate and the deluge of water quickly catapults her, making her survivor instincts kick in. As ego subsides and the focus turns more towards the greater good a sense of drowning plunges towards such existence built by man that is limited only to an individualistic view. The remains of a city where a whale once swam is further echoed by how the rat races of humanity appeared through the horizon of nature.
As the water begins to rise, a lethargic capybara slowly drifts onto a sailboat where a cat is. After, they’re joined by a Labrador dog, secretary bird and a lemur which all join them in their sailing adventure. In the far distance, there are a series of mountains which are slim, elongated but quite steep, guiding the avians and furry animals while they are on their trek. There are multiple ways in how their bond can be tested and strengthened, such as rubbing of noses, sharing of food or in some cases fighting a flock to stand up against mistreatment of a friend. The bird among the group attempts to stand above everyone else through an assertive intention conveyed through an upright stance. When one of them showcases their personality through their character, the other starts animating them. Through the bond, the cat’s excess amount of curiousness for customs and other travelers alongside their big lumping eyes are further stimulated.
The warmth, deepness and detail of the camera’s movement adds a wonderful quality to the picture. It feels almost as though the events are happening in front of us, while in actuality, they have been planned down to the last second, Zilbalodis combines his long takes from aquatic settings and then moves into the safety of the vessel with the characters as life unfolds naturally. The combination of vegetation, structural elements and the water surface is remarkable, somewhere between painted pictures and realistic depiction. Still, it does not fall into the depth-less hyperrealism of the Disney photorealistic faux ‘live-action’ variants of their animated classics, drawn and illustrated such as Lion King 2019. Regarding the characters in‘Flow’, they don’t feature hand-drawn detailing, but the edges of their bodies in a tinge have been color blocked with defined a shade which stylizes them interestingly.
Zilbalodis observes how the behaviour of the animals changes in relation to one another, even as it brings in a conflict. He portrays them as a band of friends who are different from each other and who change the tone for the best though without anthropomorphizing them completely. Sweeping them in themselves also includes their natural instincts to maintain their physical presence, along with their emotions on staying alive. This can be seen when the cat dreams of a herd of deer running away from a powerful wave or when they have to illustrate a death, which is arguably one of the most hauntingly beautiful scenes in cinematography this year. Zilbalodis and Rihards Zaļupe go through a composition as tranquil as it is intense when it comes to the score they co composed together. Being incorporated in the sound design, the music itself serves as a compliment to the film’s immersive quality.
Peering into a hand mirror left by the former owners of the boat, the lemur appears to find itself and then selflessly offers that finding to other people. It’s almost as if these animals express our noblest qualities; by them, we have a chance to turn that inside out as well. They seem to be saying that only under this recognition can “we” truly be “us” and not “us” as a multitude of different concepts at war waged by foam fights. And that when the climate crisis along with these many other disasters facing us become commonplace, we will only have each other. “Flow” has a bright vision; it proposes that the storm we are experiencing will not last forever, and, therefore, the deer will be running free in the forest again. This or otherwise, life will, without an inch of doubt, flow in all its intricate glory and pure tragedy.
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