《漂流2017》在叙事上刻意摒弃了传统戏剧冲突，导演海伦娜·维特曼用大量固定长镜头和自然光变化来构建时间流逝的质感，海面波纹、云层移动与船体晃动成为情节推进的主要介质。Theresa George和Josefina Gill的对手戏克制而真实——没有激烈冲突，更多靠眼神、肩膀的放松程度和突如其来的笑声传递彼此依赖又疏离的关系。Theresa George和Josefina Gill的对手戏没有大起大落，更多是靠细微的眼神和身体前倾的幅度来表现两个人之间的拉扯，像海浪一样一波一波地推着走。剧情没什么惊天反转，就是两个人在海上漂流，却把那种“明天可能不会来”的窒息感一点一点塞进你胸口。
整部电影像是被水浸过一样，节奏缓慢但每一帧都带着重量。
Theresa George和Josefina Gill的表演称不上“演技”——更像是被摄影机真实记录下来的本能反应，前者在甲板上反复擦拭同一块污渍的强迫动作，后者在夜晚蜷缩时把唯一的外套悄悄盖在同伴脚上，这些细节比任何台词都更有分量。
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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