IronWatcher’s review published on Letterboxd:
Watched in the cinema (124th visit in 2024)
Zoë Kravitz's directorial debut "Blink Twice" raises important questions, not only stylistically but also thematically. The pressing question of whether this film was conceived long before the revelations surrounding Jeffrey Epstein or whether it was made in their shadow invites intense discussion in advance. However, the subject of the Epstein scandal is undeniably at the heart of this summery thriller with comedic undertones. Kravitz's work avoids any kind of arbitrariness and confronts the audience bluntly with the abysses of power and abuse.
Channing Tatum's portrayal of tech billionaire Slater King, who supplies his entourage with alcohol and drugs on a secluded private island, inevitably evokes associations with the real-life character Epstein. The parallels are obvious and serve as a haunting backdrop to the cinematic narrative. "Blink Twice" presents itself as a high-concept thriller that displays its anger and political message refreshingly blatantly. Kravitz, who not only directed but also co-wrote the screenplay, stages a story that is as captivating for its visual power as it is for its bold stylistic leaps. Although the film takes some time to get going at first, as soon as the first cracks in the idyllic façade become visible, they unload with the sharpness of shrapnel. The initially sunny and seemingly cheerful atmosphere turns into a nightmarish vision which, despite its exaggeration, never loses touch with reality.
Amidst the genre conventions of thriller, comedy and horror, "Blink Twice" remains a razor-sharp commentary on past and present forms of power worship and abuse. Kravitz succeeds in creating a narrative that not only entertains, but also challenges and provokes. A particularly impressive example of this is the staging of a brutal act of violence, which is introduced by the clicking of a golden chain with a crucifix. This scene exemplifies one of the film's central messages: we do not forgive, we forget. Both money and faith serve as opium for the people, blinding us to the underlying truth. Kravitz finds visually powerful, yet never overly convoluted images for this, making her directorial debut all the more impressive.
Despite this profound subject matter, Kravitz never loses sight of the entertainment value, which is also supported by the strong acting performances. Naomi Ackie shines in the lead role with an impressive range, while the screenplay by Kravitz and E.T. Feigenbaum cleverly avoids slipping into trash TV clichés when it comes to the supposed competition on the island between the ladies. Even the at first glance stereotypical characters on the party island are given a second layer that constantly challenges the audience to question their perceptions. The classic thriller formula "nothing is as it seems" is masterfully played out here and enriched with numerous details. Why, for example, does a character keep eating boiled eggs? And what is the significance of the red armchair that is never in the right position? Answers? There are answers, but not all of them are revealed just like that.
"Blink Twice" is full of symbols that are either the center of attention or only gradually unfold their effect - perhaps because we are not used to it any other way? A vivid example of this is the omnipresent consumption of drugs and alcohol. After the third or fourth day of partying, the question inevitably arises as to whether the characters ever consume anything other than alcohol. The champagne glasses seem to fill themselves, the joints and happy pills are constantly available. There are no breaks, there is only partying. Kravitz succeeds in transforming the initial euphoria of partying into a depressing stagnation, proving once again that she has blessed her impressive directorial debut with plenty of wicked wit and a clear agenda that becomes unmistakable the longer the film goes on.
