There’s a misconception that the British are a stoic people who just might get quite cross in the event of a zombie apocalypse.
But the truth is rather different, as was shown in 2005, when six people were hospitalized and a man stabbed when an Ikea store in North London put 500 leather sofas on sale for less than 60 bucks each and a riot ensued.
In that sense, Mahalia Belo’s intriguing debut The End We Start From is very much a British disaster movie, speculating just how quickly the country’s perceived veneer of respectability would evaporate in a crisis.
But, more than that, it’s a dreamlike study of what it means to give birth, how life-changing the experience is and the strain it puts on relationships.
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