Since the #MeToo movement emerged in 2017 to unearth years of sexual abuse across industries worldwide, several films and television series have shed light on these dark realities.
“Bombshell”, “Promising Young Woman”, “The Morning Show”, and “I May Destroy You” are among titles that have exposed the horrors happening behind closed office doors and the mental anguish victims endure as a result.
Now, Hollywood actor and first-time director Zoë Kravitz has masterfully crafted “Blink Twice”, a psychological thriller that lulls audiences into a seemingly innocent fever dream, holds them in a psychedelic, drug-laden paradise – and then pull the rug out, revealing a nightmare tailored for the post-#MeToo generation.
This is not your typical, clichéd chick flick about exposing the bad guys and female empowerment. No, Kravitz truly comes into her own with a movie that feels like a cross between the folk horror of “Midsommar” and Jordan Peele’s breakout film “Get Out”.
Indeed, Kravitz, who co-wrote the script with E T Feigenbaum, is a bona-fide filmmaker who knows how to use close-up shots to her advantage, delivering dizzying scenes and heart-pounding moments that will keep you on the edge of your seat – and maybe even running for your life.
The story follows Slater King (Channing Tatum), a tech billionaire with a penchant for the extraordinary, who invites Frida (Naomi Sarah Ackie), a seemingly ordinary cocktail waitress, to join his exclusive group on a luxurious island getaway.
What begins as a dream vacation slowly descends into a chilling nightmare, as Frida becomes entangled in King’s enigmatic world and starts to notice strange occurrences and unsettling coincidences.
The once-idyllic island paradise soon transforms into a sinister labyrinth, where every shadow holds a secret and every friendly face could be a mask.
Like “Get Out” and “Us”, “Blink Twice” cleverly uses horror and thriller elements to comment on powerful, wealthy men who use their influence and charm to befriend unsuspecting women before revealing their true nature.
However, Kravitz, who draws on her own experience of having been sexually harassed at age 19 by a Hollywood director, gives her female characters agency and intelligence – even if they, too, must wear masks of their own to hide the terror within while figuring out how to escape.
Kravitz skillfully employs metaphors and foreshadowing from the very start of “Blink Twice”. In one scene, a domestic worker calls Frida “Red Bunny” and, as she extends her arm, a tattoo of a snake makes it appear as though a viper is reaching for Frida.
The significance of this becomes clear in the film’s third act, making for a satisfying revelation.
When it comes to performances, British actor Ackie brings a fresh, raw, and edgy likability to Frida. There is a longing and brokenness in her eyes, even when she insists she is “having a great time” – a line she repeats often – hinting at a deeper tragedy.
Without resorting to the vengeful-female-character trope, Ackie plays Frida’s moment of empowerment with a subtlety so powerful it could elicit applause in the cinema.
As tech billionaire King, Tatum infuses the character with his own charm. There is a predatory danger in his eyes and smile, and Tatum shines in this role, showcasing range beyond the action flicks for which he is best known.
Ultimately, “Blink Twice” redefines the survival-thriller genre with its gripping narrative, strong cast, and masterful use of horror to tell a frightening yet necessary story. Just make sure you don’t blink while watching this film, lest you miss the artfully hidden details.
As of press time, ‘Blink Twice’ is screening in cinemas nationwide.