《漂流2017》不像常见的海上求生电影那样依赖戏剧冲突或英雄叙事，它更像一部缓慢渗透的感官日记。适合喜欢慢节奏心理剧、对女性在绝境中复杂情感感兴趣的观众，尤其适合愿意从细节中读出人物关系的你。Theresa George和Josefina Gill的对手戏几乎没有激烈争吵，几场分配淡水的戏全靠眼神和细微的肢体错位来传递猜忌与依赖，像一根慢慢绷紧的弦。导演海伦娜·维特曼把镜头钉在狭小的船舱里，海浪声与寂静几乎吞噬了所有对白，迫使观众去读她们绷紧的肩胛骨和指尖的迟疑。有一场两人在甲板上分食水果的戏，指尖触碰的犹豫比任何台词都动人。:)。

　　Two women spend a weekend together at the North Sea. Walks on the beach, fish buns at a snack stand, mobile weather forecasts. Sky, horizon, water. One of them will soon return to her family in Argentina while the other one will try to come a step closer to the ocean. She travels to the Caribbean and the foreign makes her vulnerable. Then, the land is out of sight. On a sailing vessel she crosses the Atlantic Ocean. One wave follows the other, they never resemble. Thoughts go astray, time leaves the beaten track and the swell lulls to deep sleep. The sea takes over the narration. And when the other one reappears in it, the wind is still in her hair while the ground beneath her feet is solid. She returns and the one of them could ask: "Have you changed?

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