FULL SPOILER-FREE REVIEW @ https://fandomwire.com/the-end-we-start-from-bfi-film-festival-review/ "The End We Start From marks debutant Mahalia Belo as a filmmaker to follow closely in the coming years, despite the story not being imaginative or impactful enough to reach a higher level of satisfaction. With a substantial thematic sense, maternal symbolism is portrayed through Belo's contemplative vision, as well as Susie Lavelle's atmospheric cinematography. However, it's up to Jodie Comer and Katherine Waterston to carry the movie on their shoulders, which, unfortunately, lacks a better exploration of the climate crisis that it uses more as a narrative background trigger. A more memorable conclusion could have made the difference..."" Rating: C+

With a fairly biblical storm raging outside, an heavily pregnant mother (Jodie Comer) is sitting at home watching the telly. Power goes out, waters break then the struggle to get boyfriend (Joel Fry) and ambulance to hospital is the start of their woes. Leaving, they discover that huge swathes of England are under water so they head to higher ground and his parents. Fortunately, they have had a long ridiculed bit of a siege mentality so there's plenty of food but that's about all as the family units begin to disintegrate, just as society is doing at large elsewhere. The couple become separated and the un-named mother must now find safety for herself and her baby until some form of normality returns. This is another hugely emotional effort from Comer with Fry, a fleetingly potent contribution from Benedict Cumberbatch and a strong role for new-found friend Katherine Waterson working well, too. The story though - well it reminded me a little of "Children of Men" (2006). A rather depressing and dreary chronology - augmented with some flashbacks of happier days - of how individuals deal with disaster, be they self induced or imposed, and I struggled to remain engaged as the narrative lumbered along. The direction and the score are also fairly lacklustre. One too many shots of cars driving along, of mother carrying baby, cheering baby, nursing baby - and talking of the baby, boy does it age! If it's meant to be a very personal, intimate even, indictment of mankind's inhumanity to itself when facing desperation then it just about works, anything else was rather wasted on me, I'm afraid.