Helena Wittmann's debut film Drift features a loose narrative: two women (Theresa George, Josefina Gill) convene at a beach house in Sylt, converse throughout their stay, and eventually depart. During the first third of the film, the ocean is initially perceived as something important, but perhaps secondary to the leads. Images of water are to be expected for a film taking place on the German island, but they slowly inform how the remainder of the film is experienced. In viewing these bodies of water, one continuously finds analogues in shots that don't prioritize water. For one, observations of their movement become mirrored in travels by land: a gentle rivulet finds itself in the tracking shot of a bicycle ride, while the gentle ebb and flow of the ocean bears resemblance to a car driving down a bumpy street. The sensuous shapes of these bodies also manifest in a flapping sail, the curvature of leaves, and the duvet that lay atop the women's bed. The women even share myths related to water; that Wittmann presents an anthropological component to water reveals her desire for us to comprehend it as something far more multifaceted than we may think.