While not its only cause, the increase of conflict and civil wars has spurred a global refugee crisis. Millions of refugees have been displaced from their homes, taking dangerous journeys to a hopefully safer place. Nowhere, now on Netflix, showcases one possible journey. Escaping a future totalitarian Spain, the film is centered on leading lady Anna Castillo, whose excellent performance pulls most of the tears here. With her character Mia’s ingenuity, she maximizes her shipping container’s resources and takes steps to ensure her survival. While some of the backstory can feel thin, after all, for most of the runtime Mia has only herself to talk to, this new one-location survival film is a thrilling addition to the genre. It’s a chilling reminder of what could be happening to the millions of refugees seeking safe haven around the globe.
"There are some disappointing choices in the film's directing, but Castillo should make a lot of those easy to overlook."
— Brian Tallerico
A young pregnant woman named Mia escapes from a country at war by hiding in a maritime container aboard a cargo ship. After a violent storm, Mia gives birth to the child while lost at sea, where she must fight to survive.
Escaping a more brutal and totalitarian Spain, pregnant refugee Mia strives to survive alone in a shipping container adrift at sea.
One-location survival films can be great, at a lesser cost, since production is concentrated mostly on one location. However, for the film to stand out, this location has to make sense for the premise and themes of the film. The use of a shipping container is a smart choice made by screenwriter Indiana Lista, who, while working with the writing team, is solely credited for the story. The shipping container is tough enough to withstand some outside elements, while still vulnerable to bullets. As a storytelling tool, the container provides some semblance of safety, which certain scenes easily take away. It’s also interesting how the production design uses the container as a reflection of Mia’s wellbeing, not just relying on the water levels, but also Mia’s use of boxes and other resources. It’s a great playground for Anna Castillo’s excellent performance.
Plenty of the one-location survival tropes are here, but it’s absolutely foul how they used the hidden wall in this one. Without too many spoilers, the film crew really knew what images to put to evoke previous historical atrocities. It’s a good choice. But we really need a hug.
Sundance
1 nomination
