Over the 95-year historical past of the Academy Awards, a Latvian movie has by no means been nominated for an Oscar. In 2025, it’s attainable that Gints Zilbalodis’ celebrated marvel “Flow” will earn not solely an animated characteristic nomination however a spot within the worldwide movie class as effectively. For a movie that on its floor is about an unnamed cat who experiences a monstrous flood alongside a very energetic canine, a pleasant South American capybara, a lemur and a statuesque African secretary fowl with a broken wing, these could seem intellectual expectations.
However there’s extra to the story, says Zilbalodis, who burst onto the worldwide animation scene after shepherding the 2019 characteristic “Away” on his personal. The filmmaker was impressed to create “Flow,” partially, by a cat he had in highschool. On the time, the story manifested itself in a “very simple hand-drawn” brief movie a few cat and its worry of water — a common narrative that allowed the story to proceed and not using a conventional antagonist.
“It’s really just the cat versus nature, or it’s really a cat versus itself. It has to kind of overcome its fears,” Zilbalodis says. “Many years later I decided to revisit this premise. But this time the focus is more on the cat’s relationship with the other animals. The water is just there, a metaphor basically for this fear, because the cat is very independent, and it has to learn how to work together with others and how to trust them.”
With the co-production between Latvia, France and Belgium, Zilbalodis went from being a jack-of-all-trades to forming his personal manufacturing firm — thereby mirroring the loner cat’s sudden must work in a workforce setting. “I was quite anxious about doing that. And some of these anxieties are built into this story,” he says. He jumped headlong right into a mission 50 occasions larger than his final characteristic but in addition, notably, 50 occasions smaller than a Disney animated movie.
Animals should work collectively to outlive in “Flow.”
(Competition de Cannes)
A bigger group of collaborators doesn’t imply Zilbalodis’ affect isn’t felt all through the movie, nonetheless. Moreover directing, producing and designing many of the foremost characters, he co-wrote the screenplay and is the cinematographer, editor and composer, amongst different roles.
“It’s a bit embarrassing that you see my name a few times in the credits, but we needed to list those different titles for contractual purposes,” Zilbalodis sheepishly says. “What I wasn’t really involved with is the actual animation, the movement of the characters, the performance, which I allowed other people much better than me to do. I had every shot designed, edited and lit. But if an animator would suggest something, it was important that we try to incorporate those ideas.”
Nonetheless, “Flow” confronted a number of urgent challenges. The primary was an age-old animation drawback: creating lifelike water. Zilbalodis laments that nearly “every scene required a new tool to be developed. It’s not like we have one tool for all kinds of water. We have a tool for a puddle, we have a tool for a lake, a stormy sea, a small splash, a big splash. So, we had to develop a lot of new technology and tools.”
The film additionally showcases a number of spectacular lengthy takes because the cameras observe the characters. “Some of these shots got so heavy, with so many characters and different environments, that managing it was really difficult. All the pipelines that the animators are used to are not meant for these types of shots. Any adjustments would make the computer freeze for a moment before it readjusted something.”
The movie opens with our feline encountering a pack of overzealous canines within the blooming forest earlier than napping in a seemingly deserted Northern European-inspired residence. There isn’t a human in sight, however it seems the onetime proprietor of the house was a sculptor who was impressed by felines.
“I wanted it to feel quite timeless. It could be like this house is a hundred years old. It could be a newer one,” Zilbalodis says. “That was deliberate. So, the environment is constantly evolving and changing, and it’s not just for the sense of looking pretty. It’s there to kind of help us understand these characters.”
After a flood engulfs the cat’s residence, it finds itself in a small sailboat together with the opposite three animals. Because the movie progresses, they journey via architectural ruins which are usually troublesome to position. And, identical to the cat, Zilbalodis desires us to really feel as if we’re experiencing these areas for the primary time. And since it’s from the cat’s perspective, every little thing appears even larger than it might be from a human perspective.
Should you’re hoping for a protracted expository scene explaining what occurred earlier than the flood, you’ll be upset. Zilbalodis would discover it “quite boring” to go down that highway. He believes viewers ought to be lively individuals and never simply have every little thing spoon-fed to them. “I think if the audience has to work for something, they have to pay attention, then they care more about everything, not just the world but the story itself as well. They become more invested.”
