Head of Reviews Robert Flynn discusses Zoe Kravitz's directorial debut Blink Twice (2024)
Zoë Kravitz’s directorial debut, Blink Twice (2024), will surely stick in the minds of those who go to see it any time soon. The actor-to-director pipeline has produced generation-defining filmmakers such as Orson Welles and Greta Gerwig, who created masterpieces in their own right, Citizen Kane and Lady Bird to name a few. Blink Twice (2024) will not be joining such a select few.
The transition from in front of the camera to behind is not always as rewarding and has resulted in a plethora of forgettable passion projects in recent years. Jonah Hill’s directorial debut, Mid90s (2018), for example. A film which charmed some audience members with its cultural references, soundtrack and reminiscent cinematography at the time of its release. Ultimately, time has not been too kind to its lack of any real substance or character has led the film falling into relative obscurity.
However, Kravitz’s turn behind the camera will remain in the cinematic conversation for much longer, but not for good reason. Blink Twice is melancholic in tone yet shows a distinct sense of humour and will certainly prove to divide the cultural sphere in it’s approach to sexual violence on screen.
The film opens on Frida, played by Naomi Ackie, a waitress who has an obsessive relationship with riches and the allure of fame, which amalgamates in her obsession with controversial tech CEO Slater King, played by Channing Tatum.
One night while serving party guests at a prestigious gala she catches the eye of Slater. Frida, along with her loquacious roommate Jess, dress up for the afterparty of the event and quickly find themselves in the company of Slater. He invites them to come along with his cohort of egregiously rich, male friends to his own private island where they can enjoy endless parties and bottomless champagne.
Slater is intriguingly affectless and insinuates that success and riches will find Frida if she plays her cards right during her stay. As she forms a deeper connection with Slater, Frida feels as though she’s lost track of time and begins to wonder if she needs to leave the island.
Before the opening credits of Blink Twice comes a trigger warning which mentions that the film contains scenes of violence, specifically scenes of sexual violence. It’s a fair warning as, for a contemporary studio release, the film’s narrative turns could feel quite shocking.
Kravitz’s film revels in absurdity right from the moment that Slater invites Frida and Jess to his island. Plot points involving snake venom and line readings about “rolling fat blunts”, delivered expertly by Adria Arjona, who plays Frida’s friend and roommate, are of particular note.
The film’s taste for comedy becomes increasingly noticeable as the film progresses in the direction of the inevitable. The purpose of this comedy is not to hold a mirror of judgement towards the men, and eventual offenders, on the island. Rather, Kravitz finds humour in everyone and everything which makes the film’s relationship to themes of sexual violence feel particularly upsetting.
Kravitz handles many of the films scenes of abuse or sexual violence quite well, shooting them with discretion and brevity but still conveying a visceral sense of discomfort. Blink Twice (2024) is not exploitative for this reason. The women on Slater’s island realise that they’ve been manipulated and forced through traumatic nights enforced by Slater’s friends, prevented from remembering these events by way of a toxic perfume. The events which ensue include scenes of glorified violence enacted upon the nebbish men of the island which are primarily played for laughs. As a result, Kravitz’s intentions in relation to the significant role of sexual violence in her film is unclear.
Blink Twice (2024) culminates in a commentary on the transgressive and deeply unethical acts that rich men are permitted as a result of their unimaginable mountains of wealth. Frida’s story is a cautionary tale of fame, money, and exploitation; however, the film's dramatic tonal shifts can often overshadow this message and the character's arc.
While Blink Twice (2024) plays with many grey areas, its ending feels tone deaf and insensitive to any of those affected by its depicted themes; it’s an ending that reflects poorly on the whole of the film. Zoë Kravitz’s debut will prove to be a controversial one, and one that will not soon be forgotten, for better or worse.
Some may find enjoyment in the film’s often campy tone, peculiar sense of humour and just how far Kravitz is willing to go with depicting gore, while others may see it as this review describes it; a daring debut that ultimately mishandles its core themes.