Flow
Latvia’s first Oscar-winning film uses free open-source software to illustrate the dangers of a changing planet.
Image courtesy of Curzon Film Distributors.
It is a real feather in the cap of the Latvian filmmaker Gints Zilbalodis that his second feature, Flow, should have been in competition for so many awards. During 2024 it picked up seventeen of them in countries that ranged from Spain to China and this year it more than doubled that number and pulled off its greatest triumph of all by winning the 2025 Oscar for best animated feature film in what was a very competitive field. Zilbalodis, who was born in 1994, made no less than six shorts before astounding us with his first animated feature originally released here in 2019 and now receiving a re-release in the UK. That was Away in which its young hero, a boy stranded on an island, set out to cross it and in the process discovered a world that could be frightening. But, far from being a standard adventure tale, it evoked in a broad sense the problems that confront human beings and did so in a compelling tale that was told without words. My only reservation faced with this tour-de-force concerned elements in the narrative that required greater clarity to be fully effective (the story was one created by Zilbalodis himself).
Similarly aimed both at adults and at children, we now have Flow made with devotion over some three years and again presented as an animated work which relies entirely on its visuals to put across its tale (this time the story was provided by Matīss Kaža in collaboration with Zilbalodis). The lack of words is not a problem in itself and Flow is immensely distinguished in many ways. But again, I have doubts concerning the narrative and here the problems are, I think, deeper than those that affected Away even though I would still recommend Flow as very much a film to see.
The central figure in Flow is a cat and what we see here is decidedly through the cat's eyes. It's a world of ominous rising waters and while Cat will encounter a range of other animals this is a terrain that no longer carries sight of any human beings. The assumption must be that there has been some major catastrophe of apocalyptic proportions but not inappropriately the lack of spoken words means that we never know exactly what has occurred. Rather it is a case of the film – and therefore the viewer – sharing with Cat the animal’s exploration of this transfigured and dangerous environment. What is revealed is the extent to which animals of various species both wild and domesticated can be threatening to each other due to their being intent on protecting their own kind and rarely ready to come to the aid of an alien animal in need.
Ultimately, then, Flow is offering a message that, however simplistic, is surely valid and all the more so since our world is even now in an alarming state of wide-spread crisis whether that be seen as one caused by climate change or by other factors: Zilbalodis is telling us here that if humanity is to survive it needs to learn to pull together. In making this point Flow covers Cat’s long journey which passes through changing scenery, much of it in the wilds but with that part of it on water eventually leading to a city suggestive of the remains of what had once been Venice. All of this is presented by adopting a mixture of animation techniques and what is particularly memorable is the vivid realisation of the surroundings whether rural or urban, mountainous peaks or waterlogged land. This visual strength is enhanced by Zilbalodis having an acute ear for sound, be it the application of music (he is himself one of the composers here) or natural sounds that add tellingly to the sense of reality.
Cat and all the animals that feature and have such a prominent role in Flow are ably created and yet to my mind are less expressive than their surroundings. In saying that, I am aware that this could be linked to the fact that I have never been an animal lover. It is quite possible that those who are in that category will read more into the characterisations and facial expressions and will consequently be far more caught up in the film on that level. Nevertheless, despite the wise decision not to let the film exceed 85 minutes, what I do find a major weakness is the fact that Cat’s adventures take the episodic form of a string of incidents and encounters rather than providing a plot involving events that will build and develop in story terms. Ultimately, the film’s theme will take full shape in a triumphant conclusion in which Cat and many other animals of various kinds come together on a sailing boat. We can indeed see them here as united at last, a mixed bunch who have come to recognise that they need each other and should show care accordingly. But, while there is much visual delight to be found and the film’s humane plea is patently heartfelt, as a narrative feature Flow lacks the strong structure needed if its climax is to be as truly overwhelming as it should be. However, the film’s remarkable set of awards suggests that many viewers do not share my reservations and many aspects of Flow are indeed truly remarkable.
Original title: Straume.
MANSEL STIMPSON
Dir Gints Zilbalodis, Pro Matīss Kaža, Gints Zilbalodis, Ron Dyens and Gregory Zaicman, Screenplay Gints Zilbalodis and Matīss Kaža, Ph Gints Zilbalodis, Ed Gints Zilbalodis, Dir of Animation Léo Silly-Pélissier, Music Gints Zilbalodis and Rihards Zaļupe.
Dream Well Studio/Sacrebleu Productions/Take Five/Arte France Cinéma/Canal+/Ciné+-Curzon Film Distributors.
85 mins. Latvia/France/Belgium. 2024. US Rel: 22 November 2024. UK Rel: 21 March 2025. Cert. U.
