这部1924年的先锋派杰作，用急促的蒙太奇和抽象镜头打破了传统叙事的桎梏，生动重现了巴黎那场疯狂而绚烂的大洪水。电影大胆摒弃了同期最流行的自然主义夸张表演，转而采用类似歌剧的严谨韵律，将演员化身为“活着的雕像”，以此极简的肢体语言传达深沉的情感。演员的表演非常写实，那种从喧嚣到绝望的情绪递进，真是看得人心惊肉跳。演员表演近乎自然主义，将男女主角在命运洪流中挣扎求存的渴望刻画得淋漓尽致。 阿尔伯特·拉利贝尔饰演的房东玛丽翁是全片灵魂，他的肉体欲望与时代的动荡交织，极具张力。导演德吕克并没有照搬好莱坞的戏剧化叙事，而是用诗意流畅的镜头语言捕捉河流暴涨时的自然律动，画面极具观赏性。

　　Though Delluc's career was short-lived, it burst vigorously(7 films in 4 years)that it forever left its imprint on french cinema history, and they rightly honoured him by giving the annual Prix Delluc to the best French film of the year. He was responsible for the creation of influential cinema  journals like Le Journal du Ciné-Club and Cinéa, founding numerous film societies, writing countless articles and coining the term "cineaste". Delluc believed that films should be set in the natural without elaborate posturing, and characters should be portrayed in an intimate way where the past and present, illusion and reality can be correlated, all considered to be avant-garde at its time. He died only a few weeks after the shooting of The Flood at the age of 33.

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