[[ The suspension of disbelief for a movie like this gets a nice elevation

Director Albert Pinto gets everything from Castillo, an actress who first seems a bit overly mannered (it’s really just the bad dialogue of the opening scenes) but settles in nicely after she gives birth and becomes a force of survival instinct. The suspension of disbelief for a movie like this gets a nice elevation from the maternal hook. We’ve all heard those stories about mothers lifting cars to save their children. Castillo sells the idea that giving up isn’t an option more for her child than herself.

“Nowhere” has some clunky filmmaking, as with the container’s internal space, which I wish was better conveyed. There’s a version that’s more claustrophobic and sharp—where the interior doesn’t feel quite so much like a set—and some of the editing here is hyper when a stronger take would have longer shots and establish the time that Mia is stuck out there and the feeling of desperation. And it doesn’t help that “Nowhere” becomes repetitive over nearly two hours.