TIFF 2024: Flow Review

This will be one of many reviews during this year’s Toronto International Film Festival, to keep up with our latest coverage, click here.

Throughout the history of cinema, audiences have been treated to countless films that attempt to show the world through the eyes of animals. It’s natural to wonder what our pets may be thinking and film offers a unique opportunity to imagine what might be on their minds. That being said, many films with animal protagonists tend to anthropomorphize them and be voiced by well-known actors. While these choices are clearly made for entertainment, the trope is so overused that much of its initial charm has completely worn off. Though there are exceptions in the form of beloved classics within the realm of animation that feature talking animals, it often feels like an insultingly pandering approach, even when targeted at children.

However, Gints Zilbalodis’ Flow proves that dialogue and human traits aren’t necessary to create a compelling film from an animal’s perspective. Animals are inherently fascinating, and when portrayed authentically, they can captivate audiences and make for an engaging movie. The film follows an independent, territorial cat who reluctantly teams up with a diverse group of animals aboard a ship when the world is engulfed by a flood. It is essentially a retelling of the story of Noah’s Ark, but without Noah. The animals are left to take charge and navigate their own survival.

The animals here don’t speak, and they don’t need to. The cat meows, leaps, and struts around like a real cat—proud, territorial, and slightly aloof. The dog, as expected, is loyal and overly energetic, but never once slips into caricature. It’s not just familiar pets that inhabit this world; we encounter a heron, a capybara, even a lemur. These animals aren’t reduced to mere caricatures either. Each is crafted with care, not just in appearance but in behavior. They move, react, and interact as they would in nature, bringing a refreshing depth to a landscape dominated by irritating talking animals.

Flow is not only refreshing in its portrayal of animals but also in how they are animated. The animals have a peculiar, almost whimsical design, with a clay-like texture. Yet, this unconventional choice works—there’s something about the contrast between these stylized CGI creatures and the stunningly lifelike backgrounds that enhances the overall effect. The world around them is captured with such meticulous detail that will draw audiences in, fully immersing them in its world. If the animals were more realistic, it might feel like a National Geographic documentary, but their cartoonish designs give the filmmaker room for creative liberties that energize the story.

All things considered, Flow is rather thin—a simple narrative of animals behaving like animals. It’s the kind of plot that would likely work better as a short, but is stretched to feature-length. For those not particularly captivated by animation techniques, it might come across as a dull watch. Despite being marketed as an art film, thanks to its official Cannes selection, it may resonate more with young children, who can appreciate the beautiful landscapes and enjoy watching the cute animals on their adventure. It’s not meaningful or moving like the best animated films often are, despite its jaw-dropping visual landscapes.

In the end, Flow is still worth a watch, especially for audiences with an appreciation for animation. What it lacks in narrative depth, it more than makes up for with its stunning visuals. The artistry on display is remarkable, as the film becomes a visual spectacle that, while light on story, is undeniably captivating in its execution. It respects its subjects, and in doing so, delivers something rare: an animated feature where one can marvel at animals as they are, not as we imagine them to be. It’s refreshing, but more than that, it’s a reminder that magic of nature and the world around us.

still courtesy of Janus Films

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Tristan French