Breathing Under Water
2000
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Diversity score: 4.6 out of 10
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Not Waving but Drowning
2012
Not RatedDirector
Devyn Waitt
Runtime
100 minutes
Average Rating
No ratings yetSynopsis
Not Waving But Drowning is a chronological look at growing up, formed from two different stories. The two sets of friends represent the American dilemma between what you have known and what you hope to know; the tear between longing for the past and the desire to explore.
Where to Watch
Diversity & Representation
Overall Score
4.2/10
Fair
Category Breakdown
LGBTQ+ Representation
The film lacks explicit documentation of queer narratives or non-cisnormative identities. While the move to New York City suggests themes of identity discovery, no specific LGBTQ+ themes are present.
Gender Representation
The story centers on female experiences and the journey of a small-town girl. It prioritizes female friendship and the emotional complexities of autonomy over traditional male-centric perspectives.
Racial & Ethnic Diversity
The narrative focuses on social mobility and the tension between small towns and urban life. There is no explicit evidence regarding the racial composition of the ensemble.
Religious & Cultural Diversity
The film explores the friction between provincial tradition and urban modernity. It functions as a study of individual growth rather than a critique of specific cultural or religious institutions.
Disability Representation
There are no visible or mentioned depictions of physical or neurodivergent disabilities within the narrative.
Strengths
- Focuses on female experiences and the nuances of female friendship.
- Explores the emotional complexities of autonomy and social transition.
- Provides a meaningful character study of personal identity and growth.
Areas for Improvement
- Lacks explicit representation of LGBTQ+ identities or queer narratives.
- Provides little evidence of racial or ethnic diversity within the ensemble.
- Misses opportunities for systemic critique or intersectional storytelling.
AI Analysis
Not Waving but Drowning is a character-driven drama that focuses on the emotional transition from a small-town upbringing to life in New York City. The film finds its strength in exploring female agency and the personal friction caused by social mobility. However, the narrative remains largely centered on individualistic coming-of-age themes. It lacks the documented intersectional complexity or systemic critique necessary to address broader social dynamics, such as race or queer identity, in a meaningful way.
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