故事是这样的：一个被连日暴雨浸泡的河边小镇，堤坝终于撑不住了。佩吉·香农演的母亲在漂流的木板上用碎布裹住孩子的动作，比任何台词都更有力量；西德尼·布莱克默演的工程师在闸口扳手断掉时，脸上那瞬间的空白与咬牙的狠劲，把理性被绝望击穿的过程演透了。适合喜欢早期现实主义灾难片、或想透过老电影观察人性底色的观众。整部片没有什么英雄主义口号，只有普通人面对灭顶之灾时的笨拙、自私和偶尔闪光的善意。影片没有廉价的说教，而是让每个角色的选择自然嵌入洪水的涨落节奏。费斯特导演用克制的调度——断裂的桥梁、淹水的街道都以实景拍摄，反而让灾难题材褪去奇观化，暴露出更赤裸的生存困境。

When talking about Louis XVI and his wife Marie Antoinette, what immediately comes to mind are lace, tall wigs, flamboyant clothes and colours, Versailles, or… the guillotine. Here, between these two extremes, exists a middle ground, a period of time seldom explored: the few months when the last king and queen of France were imprisoned, with their two young children, in a black castle on the outskirts of Paris, awaiting their executions. A brief and condensed period where, amidst violence and harassment, all masks fell off: those of two royals, as public and private figures; that of the old regime; that of a History that finally turned the page; and that of God who, from then on, was eclipsed by the shadows, leaving man entirely alone.

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