Flow is a Latvian animated movie depicting cataclysmic events concerning humans. There are no people in the movie, yet the remnants of civilization that are buried underwater such as temples wrap a strange narrative that connects and explains our absence. For instance, the film depicting a cat surely has artworks and sculptures that suggest human interaction, perhaps even within the same home the cat lived in. There still exists a shared home, but what other evidence is available that infers a shared existence? Cat & Company aboard a tattered sailboat while exploring the content shapes a gulf between the inhabitants of the film and our reality. It is wrought with abandoned vessels that are ruined, and populated with columns and spiky mountains. Makes one wonder, what happened to skyscrapers or motor vehicles or rusted-out vehicles for that matter? Even a tattered sailboat is a testament that civilization existed, right?
The world in which the plot is based can best be described as eerie. Animals seem to rule this lineage and they certainly portray animals and not the typical pets who do household chores but rather the sound casting is kept with grunts and barks.
Flow seems to be where the desperation and imagination of Gints Zilbalodis strive as it is directed and brought to life by his writings alongside Matiss Kaza. A logical conclusion drawn from this mixture of fantasy and dystopian attributes is to deem this work as not child-friendly or suitable. The fantasy theme such as the mythical animals clashing with the postapocalyptic world where the water rises took over A cuts through the fairytale-themed animations and structures which are seemingly typical to Have Zilbalodis’ style.
This aspect is directly aligned with some of the approaches taken in animation, which was accomplished with the open-source platform Blender. The animals’ appearance is rather blockish; however, that awkwardness isn’t severe as it quickly morphs into appreciation because they resemble stylized digital drafts. However, the environments are the exact opposite of the characters as they appear overly beautiful which tends to be very cheapening. While the equally abstract terrains in this case The Boy and the Heron are distinctly imaginary, in Flow,’ they are a few steps closer to photorealistic representation which only exaggerates their overabundance making them look more like a video game. Numerous open-world video games could be where the sun-dappled woods and green fields that set up the film have been easily taken from, while the flooded parts which the protagonists need to cross more often than not remind us of the good old days of the classic Myst game. The appearance of many such Pixar films has shaped the general mindset of the majority of people regarding computer animation. But on the contrary, there were these more contextual vintage nuances embedded in the Mind’s Eye series and which flow pays rather an unfortunate tribute to sometimes, in a dry sense.
Given the creative supervisory structure of the entire project, which remains the prerogative of the persons involved at the highest level in the project, to censure Flow for its instructional content is akin to kicking a puppy. The animals in Flow exhibit the most entertaining features as their characters are animated so effusively that it is enjoyable to attempt to typecast their human equivalents, except for the annoying celebrity voiceovers. Now, Cat, who I believe would have a perfect casting in a film as an elegant and independent feline character who does not want to find herself close to plenty of animals, is played by Emma Corrin who is making the rest of her performance impressive. The rush is how many takes of Dog the Hollywood himbos would be more than able to effortlessly pull off. Dog beats out Hollywood himbo without even breaking a sweat and has a toothy smile missing the signs, tsk, tsk, that the Independent Kitty would choose to be on her own. Cat gives chase to a Dog who dawns on him as a non-boisterous pack chasing fish, roaming streams at Dog, and Dog nibbles on.
As far as I can tell, this is as close to a central theme as Flow has – that Dog, once he has been cut off from his fellows, is able over time to gradually gain the trust of Cat, which is handled in a less saccharine fashion than a similar development in The Wild Robot. Similarly, isolated animals connect with members of their species and act stereotypically. On the other hand, when they are brought out of their instinctual daily activities, that’s when they come together and elevate their level of consciousness. At last, a movie enlisted by cats that can be called one with regards to the dangers of being a member of a tribe.
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