When Richard (Sam Claflin) and Tami (Shailene Woodley) meet in Tahiti, she's working in a marina, a girl already somewhat "adrift" but not really worried about it yet, and he is a yacht-owner who wants to sail around the world. Their love story involves jumping off cliffs, random laughter, and a conversation about flowers. There's not much substance to it, and the script (by Aaron Kandell, Jordan Kandell, David Branson Smith—apparently, there wasn't one female writer in a 4,000-mile radius who contributed to this story of a woman alone at sea) is low on subtext. The two speak their feelings bluntly ("I sailed half the world to find you"), with music swelling up on cue. All of this is pretty standard stuff, and forgivable, really. Nobody's looking for intricate relationship subtlety in a movie like this. What we're waiting for is the storm.
The film starts with Tami lying injured in the interior of the yacht after the storm. The cabin is filled with water and debris. She staggers onto the deck, only to find Richard's safety line dangling overboard. She thinks she sees Richard floating on a dinghy in the distance. Filled with determination to get to him, she mends the yacht as well as she can, pumping water out of the cabin, fixing the sail. She eventually makes it to the dinghy, and—with a superhuman effort, drags the injured Richard through the water back to the boat, and somehow (Kormákur doesn't show us how) pulls him up the ladder onto the deck. His ribs are collapsed, his leg is badly wounded. Because this is a true story, we know Richard was swept off the boat, never to be seen again. So it's not clear at first if they have decided to fictionalize the story, or if she is having some kind of sustained hallucination.
"Adrift" flips back and forth between their burgeoning romance on Tahiti and the increasingly dire situation after the storm, as Tami struggles to keep herself and Richard alive. It is she who makes the decision to turn north and try to reach Hawaii, as opposed to continuing on to San Diego. It is she who rations out the food. When problems arise, she has to figure out solutions. She hovers over maps, peers through the sextant, makes calculations, all while battling dehydration (and possibly a lingering concussion from her head injury). "Adrift" shares many similarities with "All Is Lost," the 2013 film starring Robert Redford, with some crucial differences. Redford is the only person in "All Is Lost." There is no dialogue. He doesn't talk to himself, to let us in on his thought process. There is no "Wilson" like in "Cast Away," a device allowing the stranded character to verbalize his feelings. "All Is Lost" takes place in a vast and eerie silence. We don't know anything about the character, we don't know why he's out there alone, we don't know his onshore life. All we do is see him try—step by gritty step—to survive another day. "Adrift" avoids many of the challenges "All Is Lost" faces head on.
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