“The film is as much about the silence as it is about the visuals. I wanted the audience to be immersed in a world where the absence of words compels them to feel rather than think,” says writer-director-animator Gints Zilbalodis about Flow, an independent masterwork that moves audiences worldwide, achieving recognition with over 60 awards, including a handful of Annecy Cristals, a Golden Globe for Best Animation, a César, and an Academy Award.
The film Flow (2024), also known as Straume, is a visually poetic Latvian animated adventure that has gained international acclaim. It was Latvia’s submission for the Best International Feature Film at the Oscars in 2024. The movie stands out for its unique storytelling approach, as it features no dialogue and relies entirely on striking imagery and atmosphere to convey its narrative
The Story
Set in a post-apocalyptic world, Flow follows a domesticated black cat navigating a transformed Earth after a catastrophic flood. The film explores themes of survival, resilience, and the interconnectedness of life. The animals in the story, including a capybara, a ring-tailed lemur, and a secretarybird, symbolize various human traits and approaches to survival. The absence of humans and the haunting remnants of their civilization add to the film’s dreamlike and reflective quality. It’s a meditation on overcoming fears and adapting to challenges. The protagonist’s journey is not about achieving a simple resolution but about learning to live with anxieties and finding strength in companionship and perseverance
Flow is available for streaming on platforms like Max, Amazon Prime Video, and Apple TV+.
Flow began as a high school project
Gints Zilbalodis created a short film about his cat overcoming its fear of water. Years later, he revisited this idea and expanded it into a feature film, focusing on themes of collaboration and overcoming fears. created a short film about his cat overcoming its fear of water. Years later, he revisited this idea and expanded it into a feature film, focusing on themes of collaboration and overcoming fears.
“The entire project took about five and a half years. In the first year, I was writing the script, learning Blender, and looking for funding as Dream Well Studio. That was in 2019. In 2020, we secured some funding, and I moved into a co-working studio space with other artists and developers who were using Blender. That’s where I connected with Mārtiņš Upītis and Konstantīns Višņevskis. Mārtiņš was one of the first people I approached—not specifically for water simulation, but just to see how he could contribute. However, it quickly became clear that he had a deep expertise in water, unlike anyone else. We were fortunate that, in the early stages, it was just me, so the pandemic didn’t affect us much. By the time we moved into full production in 2023, things had stabilized. ‘
The film was largely a solo effort, saying, “When you work alone, every choice becomes deeply personal. It’s an intimate process, and it pushes you to trust your instincts and vision entirely.” This approach allowed him to craft a film that feels singular in its style and storytelling.
“I learned a lot online, but it was great to have someone with more experience next to me (Konstantīns). He did a lot of rigging and was much more technical than me, so I could ask him for advice.”
He drew inspiration from his own personal growth
“The cat’s journey reflects a part of myself—learning to trust, to collaborate, and to find peace in uncertainty. It’s a universal story told in a very intimate way.” Zilbalodis believes that emotions, even the challenging ones, are essential for growth, and this philosophy is embedded throughout the film.
The isolation of the protagonist mirrors the creative process itself: “Creating a film, especially one like Flow, is a solitary and deeply introspective journey. Yet, the moment it connects with an audience, it becomes something shared and collective.”
Flow reflects a blend of inspiration from nature and animation traditions
“I wanted the visuals to feel alive, almost as if they were breathing with the world. The water, the animals, the landscapes—they’re not just settings but characters in their own right.” Zilbalodis has often cited his love for minimalist storytelling and how it connects with the audience on a deeper emotional level.
The silence of the film was also an intentional choice to encourage introspection. He remarked, “In silence, we find clarity. I hoped that viewers would not just watch the story but feel it resonate within themselves.”
The themes of Flow were deeply influenced by his own experiences and emotions
He reflected on the solitary nature of the creative process, saying, “Making this film was like navigating uncharted waters—it was both daunting and freeing.” He compared the protagonist’s journey to the process of artistic creation, where uncertainty is not just a challenge but a vital part of discovery.
The film is a meditation on overcoming challenges and embracing vulnerability, saying, “The journey of the cat is a metaphor for facing fears and discovering strength through connection.” He also noted that the lack of dialogue was a deliberate choice to evoke a sense of timelessness, allowing viewers to interpret the story through their own emotions and experiences.
The transformative power of nature in the narrative
“Nature is both a mirror and a guide in Flow. It challenges the characters, but it also heals them.” The ever-changing water, in particular, serves as a central symbol of life’s unpredictability and beauty.
“Water is a powerful metaphor. It can be calm and beautiful, but also overwhelming and destructive. In Flow, it represents emotions—fear, hope, and everything in between.”
Zilbalodis has expressed his hope that Flow resonates universally, stating, “The story is intentionally open-ended because life rarely offers neat resolutions. It’s about learning to find peace in the currents, no matter where they take you.”
Zilbalodis emphasized the importance of the film’s pacing and visuals in creating an immersive experience: “Each frame is designed to invite the audience to pause, reflect, and connect with the story in their own way. The silence allows for a dialogue between the viewer and their own emotions.”
He also elaborated on the minimalist aesthetic of the film, saying, “Simplicity doesn’t mean less—sometimes it means more. Stripping away dialogue and complex visuals allows the audience to feel and interpret the story in their own unique way.”
Zilbalodis’s love for solitary storytelling
“Creating Flow was a deeply personal process. It was just me, the story, and the art coming alive. Yet, I hope it speaks universally to anyone navigating uncertainty and change.”
Zilbalodis has frequently emphasized the profound emotional connection he hoped to establish through Flow. He described the film as “a story about healing through companionship,” noting that even in solitude, there’s potential for growth, self-discovery, and unexpected connection. He reflected, “Fear can be isolating, but it can also be an invitation—to trust, to collaborate, and to grow stronger.”
The power of visual storytelling
“The absence of words opens up a dialogue between the viewer and their own experiences. It’s less about telling and more about feeling.” This focus on atmosphere and emotions allows the audience to immerse themselves in the story in their own way.
“Storytelling offers infinite possibilities, but sometimes constraints can be beneficial. For example, deciding to use only four characters and a handful of locations can lead to stronger creative choices. Some of my favorite films take this approach. They don’t need an epic scope to be powerful.”
“I wanted to show how the cat does improve on its fears, but it still has these deep down, something that it has to learn how to live with. And I wanted to show how that’s okay, and we can accept those things, and maybe there’s others who can support that.”
Through his thoughtful reflections, Zilbalodis invites viewers to find their own interpretation and meaning in the ebb and flow of life, much like the waters in his film.
