Richard Ayoade's directorial debut is a transitioning story about youthful love and the human association, ungainliness, and grief related with it. The film pursues Oliver (Craig Roberts), a socially barren youngster who needs to lose his virginity before his birthday. His family is likewise self-destructing. At that point he meets Jordana (Yasmin Paige), a feisty schoolmate he winds up charming. A relationship follows, yet it's a long way from the joyfully ever-after dream that we as a whole expected our first cherishes would be amid our pre-adult years. Submarine is eccentric, amusing, ambivalent, and exceptionally moving. An uncommon treat that catches young apprehension with the knowledge, experience, and comical inclination of an intelligent, endured grown-up brain.
A man (Harry Dean Stanton) falters out of the desert. He is a dried husk of a human. Having endured a huge grievousness, he expelled himself from society, separated his ties with family, and discovered comfort in complete physical and passionate disconnection. Presently, he is back. He may not be prepared to reconnect with his sibling (Dean Stockwell), or the child (Hunter Carson) that he dumped on his doorstep, however the vagabond's choices are constrained. He can go up against his agony or kick the bucket. He persuades his youngster to go along with him on a cathartic excursion towards recovery where toward the stopping point is the lady he demolished and consequently destroyed him (Nastassja Kinski). Is this a lavish, streaming, and elevating sentiment? No. It's energy and blended in all that affection are outrage, sadness, hopelessness, and expectation. Feeling. Every last bit of it.