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THE END WE START FROM (in theatres)

THE END WE START FROM (in theatres)

A dreary, “drenching”, gem of a tiny film with gargantuan gleaning from director Mahalia Belo based on the book by Megan Hunter; Jodi Comer (“Killing Eve”) paradigmatic performance as “Woman” foraging a deluged milieu (London) howls with innovative discernment and penetration; she has a child while a watery world is encompassing her, swallowing her home, separating her from her husband (actor Joel Fry), in-laws (Mark Strong, Nina Sosanya); as humanity loses its mores, parameters, she bonds with another mother (sublime Katherine Waterston) and her child; they transverse a landscape, made majestic by cinematographer Suzie Lavelle, and discover the ultimate depth of trust, sisterhood, friendship, motherhood. These women, shun fear, control the uncontrollable, never ignoring their destinies as mothers. The simple complexity of women “besting the odds” is inherent, subtlety dominating the scenario. An epochal scene with actor Benedict Cumberbatch (robbed of the Academy Award for “Power of the Dog”) in which three lone figures, shedding the shackles of survival and doom, dance to alleviate trauma, drama and provide cathartic freedom to the grieving Cumberbatch character: women reign.

 “The End We Start From” balances despair with the ultimate, perpetually protected, throughout, hope; his name is “Zed”.



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