A narrative throughline present in Zoë Kravitz‘s daring debut directorial feature is that “Forgetting is a gift.” Given the trauma and suffering many of the characters are holding onto in Blink Twice, it would appear a wise coping mechanism, but Kravitz’s script – written alongside one of her High Fidelity television scribes, E.T. Feigenbaum – delves into this torturous mind-frame with wild, unnerving abandon, at once solidifying herself as a supervisorial force and opening up topical, divisive conversations in the process.
On the offset of Blink Twice‘s tight 102 minutes, tech billionaire playboy Slater King (Channing Tatum, continuing his 2024 dominance with one of the finest turns of his career thus far) barrages the media with an apology relating to his non-workplace wrongdoings and abuse of power. It’s the first slice of familiar-sounding news that Kravitz incorporates in her not-so-thinly veiled commentary on industry misconduct, which is only continued with Slater’s private island retreat that he claims is being used for his own rehabilitation.
Despite his transgressions, Slater is able to navigate an image overhaul – nothing that a little fundraiser won’t fix – which only adds to the fangirl adoration of Frida (Naomi Ackie), a struggling waitress with a less-than-flourishing side hustle as a graphic nail designer, who happens to be working his latest event. Alongside her bestie Jess (Alia Shawkat), the two manage to sneak in as mingling guests, and through a literal trip of fate, Frida catches Slater’s attention. They spend the night flirting as he introduces her to his wealthy, 1% circle – Vic (Christian Slater), Cody (Simon Rex), Tom (Haley Joel Osment), Lucas (Levon Hawke), Rich (Kyle MacLachlan), Stacy (Geena Davis), and the party girl trio of Sarah (Adria Arjona, arguably the film’s MVP), Camilla (Liz Caribel) and Heather (Trew Mullen) – before impulsively inviting them to his island for a drug and booze-fuelled getaway from reality.
What could possibly go wrong?
The island paradise is indeed just that, and for the first few days it’s a haven of debauchery amongst lush greenery, picturesque pools, and immaculate foodporn meals. Frida can’t believe her luck, though Jess is a little more weary of their surroundings – and slightly perturbed by having to relinquish her cell phone (though she’s assured she doesn’t have to do anything she “doesn’t want to do”) – and when Jess disappears, the island’s odd nature starts to play on Frida’s psyche.
Even stranger than the heft of staff who are all mute, aside from an elderly groundswoman who sprouts a specific phrase to Frida every time she sees her, is that Jess’s disappearance goes entirely unnoticed. Camilla, Heather and Sarah are all genuinely baffled by who this Jess is that Frida keeps referring to. Beyond that, Frida has continual dirt residue under her fingernails that she can’t explain and Sarah has visible bruises on her body. There are worrying gaps in their memory.
With the additive of Chanda Dancy‘s sinister score and Kravitz’s penchant for brutal reveals through exciting edit cuts, Blink Twice violently escalates as Frida and Sarah investigate the island and, by extension, Slater. Audiences will undoubtedly be trying to piece it all together as it plays along, but even if one narrative reveals an expected slice of information, the follow-up is sure to be the opposite. There’s something so exciting about how Kravitz and Feigenbaum’s script comes together in its eventuality as all is revealed – even if what that is is disturbingly horrific to the most human core.
A film that’s best left discovered by uninformed eyes and ears – I guess we add this to the list of film titles to mute on X – Blink Twice, and all its unspooling nastiness, is an incisive thriller that truly announces Kravitz as an auteur to watch.
FOUR AND A HALF STARS (OUT OF FIVE)
Blink Twice is screening in Australian theatres from August 22nd, 2024.
