In her bold directorial debut, “Blink Twice,” Zoë Kravitz exhibits a fearless approach to filmmaking, presenting a caustic social horror fable infused with dark comedy. The film draws comparisons to Jordan Peele’s “Get Out” but focuses its critique on sexual politics rather than racial issues. Co-written with E.T. Feigenbaum, “Blink Twice” is an ambitious project from the actress-turned-director. However, while Kravitz aims to make a powerful statement, the film’s message occasionally becomes unclear.
The narrative begins with Frida (Naomi Ackie) numbly scrolling through Instagram in a grimy bathroom before heading to work with her roommate Jess (Alia Shawkat). The two serve champagne and canapés at a lavish gala hosted by the disgraced tech mogul Slater King (Channing Tatum). Eager to escape their mundane lives, they slip into glamorous gowns and immerse themselves in the high-society event, eventually jetting off to King’s private island. The allure of the vacation is palpable for Frida, who has longed for a getaway.
Kravitz skillfully captures the opulence of the wealthy elite in “Blink Twice.” The film morphs into an absurdist comedy of gendered manners as the characters, including Tatum, Simon Rex, Haley Joel Osment, Levon Hawke, and Christian Slater, interact with the female leads, such as Ackie, Shawkat, Adria Arjona, Liz Caribel, and Trew Mullen. On the secluded island, the women are pampered with luxury and excess, yet Kravitz presents this world through a lens of unsettling hyperreality.
The film’s style is intentionally abrasive, featuring disorienting camera angles and jagged editing. Cinematographer Adam Newport-Berra’s saturated, overly bright visuals, combined with an overly sharp sound design, create an almost unbearable atmosphere. This hyperreal setting contributes to a sense of unease throughout the film.
As the story progresses, the seemingly perfect vacation turns ominous. Jess, after nights of hedonistic revelry, goes missing, and the remaining characters struggle with disorientation and mysterious injuries. Frida must navigate this fog of confusion to uncover the truth about her friend’s disappearance.
While Kravitz excels in her social critique and dark satire, her transition into horror and suspense falters. Although the film features striking visuals and references to Kravitz’s inspirations, the suspense and horror elements are underdeveloped. The film’s failure to maintain the crucial balance between concealment and revelation detracts from its impact, as the explicit depiction of the monster diminishes the inherent fear.
Despite its shortcomings, “Blink Twice” showcases Kravitz’s creative ambition and directorial vision. The film benefits from strong performances, particularly from Ackie, Arjona, and a notably menacing Tatum. However, Kravitz’s exploration of themes related to sex, power, and revenge lacks cohesion. The film’s cynical ending undermines any potential messages of empowerment, leaving a sense of emotional and narrative emptiness.
Overall, “Blink Twice” is a daring but flawed debut. Kravitz’s audacious choices are evident, yet the film’s ultimate meaning remains elusive, marred by a pervasive cynicism that detracts from its potential impact.
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