Zoë Kravitz’s directorial debut, “Blink Twice,” is a strikingly self-assured film that leaves viewers feeling as though they are in the hands of an experienced auteur. The film draws immediate comparisons to Ishana Night Shyamalan’s “The Watchers,” highlighting Kravitz’s unique flair and distinct approach to filmmaking.
“Blink Twice” deftly tackles the modern archetype of the tech billionaire villain, a trope that resonates sharply with contemporary anxieties. Is this depiction born from envy, or does it reflect deeper societal insecurities? Whatever the reason, the film’s portrayal of these moguls is both captivating and unsettling.
Visually, “Blink Twice” is a feast for the senses. The film employs a rich tapestry of primary colors – luscious reds, blinding whites, and fiery yellows – that dominate the screen. This visual style is reminiscent of early work by Tarsem Singh, evoking a kind of sensory overload where colors are more vibrant and sounds more pronounced. The audience is transported back to a time of mind-bending experiments and youthful indulgences.
Kravitz, along with co-writer E.T. Feigenbaum, unfolds the narrative of Frida (Naomi Ackie), a cocktail waitress who catches the eye of reformed tech mogul Slater King (Channing Tatum) at a glamorous fundraiser. King, having publicly apologized for his past transgressions, appears to be a reformed character under the guidance of his therapist Rich (Kyle MacLachlan, known for his role as Trey in “Sex and the City”).
The film opens with Frida and her friend Jess (Alia Shawkat) preparing for the gala, in a sequence that echoes the party preparation scene from Baz Luhrmann’s “Romeo + Juliet.” The visual and thematic callbacks continue with a drug-fueled rendition of “Young Hearts Run Free.” The plot thickens as Frida and Jess accept an invitation to join King and his entourage on a seemingly idyllic tropical island. This paradise boasts gourmet food, wine, sunshine, surf, and an endless supply of psychotropic substances.
King’s inner circle features a diverse cast of characters.
. Vic (Christian Slater), who is notably missing a finger, keeps the story of its loss shrouded in horror. Cody (Simon Rex) delights in fine dining, while Tom (Haley Joel Osment) is portrayed as unwaveringly straight-laced. The group is rounded out by King’s overburdened assistant Stacy (Geena Davis), who stubbornly refuses help, and Sarah (Adria Arjona), a party girl initially hostile towards Frida. Noteworthy is the mysterious maid (María Elena Olivares), who cryptically mutters “red rabbit” whenever she encounters Frida.
As Frida delves deeper into this deceptive paradise, she uncovers layers of horror. The film’s pace is initially slow, with scenes that do not always transition smoothly. This disjointed narrative might be an intentional artistic choice to create a psychedelic atmosphere, where events and conversations blur and overlap without following a clear chronological order. While this choice aims to enhance the film’s surreal quality, it can also be distracting and pull viewers out of the immersive experience as they question logistical details, such as the placement of certain items and the sequence of events.
Despite these narrative quirks, the performances are stellar across the board. Channing Tatum delivers a particularly compelling performance, and the dream-like visuals remain captivating throughout. The soundtrack nostalgically transports viewers back to their own formative years, prompting reflections on life, the universe, and the themes of memory and forgetting that permeate the film.
However, the film is not without its flaws. Notably, the censoring appears intrusive, especially given that a blurred vape plays a crucial role in the plot. With more refined editing, “Blink Twice” could have been a truly great film rather than an unsettling curiosity. Additionally, the absence of a trigger warning for certain content is a notable oversight.
Currently playing in theaters, “Blink Twice” offers a potent blend of visual splendor, thematic depth, and compelling performances, despite its occasional narrative dissonance. Zoë Kravitz’s debut showcases her potential as a formidable director, leaving audiences eagerly anticipating her future projects.
