A relatively modest, low-key tale about global refugee issues that are usually portrayed in a higher dramatic key, “The Flood” makes a somewhat underwhelming first impression. But it gradually over…
. A nonstarter on theatrical home turf nearly a year ago, the feature should do better in home formats, with Samuel Goldwyn launching release to Stateside VOD platforms on May 1.
Under considerable pressure from her superior not to surpass strict government quota limits on émigrés, Wendy is inclined to doubt Haile’s story: He may be simply an economic refugee, or even a potential terrorist, rather than the victim of persecution he claims. And despite a good command of English, he doesn’t make a very strong case for himself, apparently preferring to keep the more painful intel private.
The warmth of their alliance and suspense of that passage finally make “The Flood” click as storytelling, while other elements in the script also belatedly pay off with surprising force. Chief among them are Wendy’s own personal problems: We’ve gleaned she’s coping with a broken marriage and lost child custody via alcohol abuse .
As an overall package, the movie does a resourceful job turning budgetary limits into a reflection of furtive Haile’s disorientation: He passes through several nations, yet sees almost nothing of them. Jon Muschamp’s widescreen cinematography and Billy Jupp’s empathetic score are primary factors in the film’s striking a note of technical polish minus any distracting flamboyance.
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