‘Nowhere’ review: sensationalism at sea | ET REALITY


Disasters at sea have provided audiences with hair-raising thrills for hundreds, if not thousands, of years. “Nowhere,” the latest addition to survivalist seafaring lore, will not be remembered for long.

The film’s protagonist is Mía (Anna Castillo), a pregnant refugee fleeing totalitarian violence with her lover, Nico (Tamar Novas). A radio broadcast suggests that they are escaping war-torn Spain. But the film proves to be uninterested in exploring this dystopia and instead settles into generic survival sensationalism.

Mía and Nico begin their journey together along with dozens of other migrants, but the intermediaries along the way force the migrants to separate. Nico and Mía separate. Mía’s struggles intensify when government forces stop the travelers: she hides among the cargo while police officers murder those around her, mostly women and children. Her container is cleaned of blood with a hose and she embarks on a ship.

Mia is alone. Her loneliness becomes absolute when a storm throws her container into the ocean. Bullet holes and dubious physics prevent the container from filling completely with water, and Mía is left adrift at sea, responsible for her survival and that of her soon-to-be-born child.

Directed by Albert Pintó, “Nowhere” is a spectacle of fortune and disaster, of good and bad luck. There are some small innovations that sound clever: Mía manages to build flotation contraptions out of Tupperware and make skylights out of electric drills. But it’s hard to care about Mía’s efforts to survive when coincidence drives the plot and the production feels cheap. There’s just a set, a few props, and an admirably committed performance by a waterlogged Castle, keeping this flimsy ship afloat.

Not qualified. In Spanish, with subtitles. Duration: 1 hour 49 minutes. Watch it on Netflix.

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