(Written by Interns, Aaron Koschoff-Rapkin and Shaun E)
The word “drift” can take on many meanings: something floating in water, becoming separated from loved ones, or inadvertently developing particular cycles of behavior. Drift takes on all three of these interpretations in a female-driven and emotional character study, adapted from Alexander Maksik’s novel, “A Marker to Measure Drift.” Despite jarring shifts in tone, Drift ultimately results in a poignant drama about isolation and trauma.
When Jacqueline (Cynthia Erivo, Harriet) first appears on screen, her tough circumstances are immediately clear. Wandering a tourist-rich town in the Greek islands, Jacqueline sleeps on beaches and struggles to survive without a job or housing. Authorities and citizens alike pose obstacles for Jacqueline, and she must stay quick on her feet to hide from the world’s dangers. As a result, much of the runtime is spent alone with Jacqueline and her environment, from the ocean’s shore, to quaint streets, to ruins of ancient cities. During these intimate sequences, small details about her previous life start creeping in through voiceovers and flashbacks that hint at a devastating experience. Her typical routine is interrupted when she meets Callie (Alia Shawkat, Search Party), an American tour guide. The two instantly hit it off, and through their budding relationship, Jacqueline goes through the slow and painful process of learning to trust again.
Despite being the central focus, Cynthia Erivo’s acting is subdued most of the time, yet remains a highlight throughout. Erivo conveys Jacqueline’s curiosity and hesitation towards Callie with great complexity and depth, as she rediscovers comforts that have become so alien. Furthermore, Shawcat’s easy charisma acts as a juxtaposing force to Jacqueline, creating a compelling dynamic to power the latter two-thirds of the narrative. An especially moving scene unfolds when Jacqueline finally reveals her haunting past to Callie in a chilling performance, additionally supported by the relationship between these characters.
Director Anthony Chen is at his best with his use of cinematography and blocking. The choice to shoot in a Greek island setting provides stunning, natural beauty, and Chen clearly understands how to capture its essence. Each shot is breathtaking, and ironically, heavier themes provide a unique contradiction to the gorgeous backdrop. Rather than following a linear timeline, Chen presents most of the exposition through flashbacks and dreams. This style works in some places, but certain sections can feel jumpy and confusing. Downtempo beats that are less plot-focused slow down the pace, while more dramatic climaxes can feel out of place.
With post-traumatic stress disorder and crippling denial, Jacqueline is a deeply intricate character. Healing is a long and arduous journey for many, and only through human connection and communication is Jacqueline able to accept her past experiences as part of her being. Drift is not a story of hope, nor does it try to be. We take an up close look at the difficult road many refugees travel, while facing poverty and mental illness. Yet, her search for peace is both essential and inspiring. Jacqueline should not only be a symbol of her trauma, rather she represents the perseverance of survivors.
Drift floats into New York City theaters on Friday, February 9th, to Los Angeles on February 16th, and expands nationwide on February 23rd.
