#blink twice 2024

[filmgifs]

Adria Arjona as Sarah — Blink Twice (2024) dir. Zoë Kravitz

[boo-la-la]

[snazzycicada]

I think one of the reasons why Blink Twice is so great is because YOU KNOW the twist in a way? Like the trigger warning at the very beginning of the film tells you bout the violence thats coming, but it doesn't take away from the story. Instead you're sitting there waiting, and waiting, and waiting and then the needle drops and its still a shocker. Kinda a la The Sixth Sense of The Others, when you know the twist already, but its still re-watchable just from the story and skill of the filmmaker

[edwardsissyhandsthtdanceslikeabb]

Blink Twice is an encapsulation of dubiousness to me, not only in the thinking it inspires, but in the layers you’re left grappling with, and then the inferences one has to resonate with after that.

and nothing evidences that more than the intangible nature of the disturbing angle to me, as its muddied in the layers of complication and nuance that lurk beneath. i mean the movie itself paints over the tragedies with cynicism, is entirely dedicated to weaponizing intuition and comfort against you.

i’d never read it as disturbed, and it too, never lets you mourn in turn. bc its insane at its inception, warped by frida’s fanatical infatuation with slater, bordering preying, a reverence for one's kill. and lures us with psychedelic, sugary visuals, with the indulgence – on food, luxury, substances. on billionaire brainrot fodder, perpetuating their power, craving proximity. inviting it into our homes, our heads. the movie *wants* you, most of all, to understand frida’s hunger. and its that thirst i most resonate with, not for a lack of empathy, or even technical prowess, but the basal intrigue it cemented in me instead.

bc it’s a movie that’s nearly primal for me. it scents cycles and desensitization, roles and autonomy, a self-infliction of decay, and disorients you before you’re allowed a proper lungful. there are only questions. shifts. a russian doll of detail and poison, and the inviolability that invoked, ironically only ever paralyzed my thinking, serving creative rot, over any epiphanies or nuance i could hope to be enlightened to.

the animalistic cruelty of desire is not there to be contextualized, but understood. felt. a relationship as inextricable as frida and slater’s. with slater likely parasitizing her algorithm, wielding his techbro power to further entrap her. like how we routinely indulge in the same. you rewind the movie, and pick out signs of danger, slater snickering at frida praising her memory, the supposed water he drinks and its snake-venom hue, the recurring jingling of a necklace, and like frida, have the fantasy demystified, wonder how there was *ever* an illusion of safety.

so watching an analysis video which posits that slater smokes the venom, that he indulges all suffering except his own, just as frida remembers the doctor’s blinks of warning, while burying the suffering they foresee, that they have seen, is watching frida emulate slater, and slater her.

it’s the movie’s thesis statement: there is no healing, there is no forgiveness, only embrace, only numbness, apathy. and when a stray tear glistens on slater’s face, he mourns not for the men, for paternalistic, patriarchal dominance, but for his friend. the only one he claims. he mourns their intimacy, their unity — grieves the good time™. a good time unattainable within trauma, within memory.

yet this pleasure, love, are perverted into captivity, and all i ended up thinking of was: “i love you means you’re never ever, ever getting rid of me.” that slater thinks he knows best, thinks he’s doing good by unburdening her, yet scars her all the same.

as bodies are made immaterial to him, dispossessed of sanctity or autonomy and so their desecration harmless. as slater makes frida a conduit for physical harm while lavishing her emotionally, and yet also exploiting their bond, feeding on their closeness for the labor of love and pain it provides. bc the one thing he needs, the one thing he cannot sacrifice, is her closeness, her intimacy, as it validates his ethos of forgetfulness, reflects it back at him. thusly, frida is reduced to a vessel of experience just as he was, just as he reduces himself to, oversaturated in good times™.

good times masquerading as truth, which slater exposes a latent contempt for, as he emasculates the remaining boy for his cowardice, his complacency, despite his glaringly disoriented, unaware state. regardless of any violation he too may have suffered, when we’d seen him scooting away from another man on the ground, enfeebled and vulnerated. in spite of slater’s aggrievement by his own lapses in memory, his own embracing of that which violated him, and violated also, those he cares abt. but slater is relieved of any loneliness by this flagelattory camaraderie, of the perpetual loss of significance, when frida remains a fixture in his suffering, when she constantly violates her boundaries too.

and we too strain our boundaries, test our empathy with the narratives we are inclined to accept. frida the girlboss or frida the fallen angel? akin to the tests slater sets for her, handing her clarity just to see what she dares remember. the good time™, the willing participant, the indulged, or the languished? seeing if she’s really forgiven, or rather, forgotten instead, drawn to indulgence despite how its hurt her. when she endangers jess in turn, desperate to feel valued, to *feel* power — in it all, is the powerstruggle.

and yet, also a relationship, as jess protects frida despite it all, and frida wakes up to the deception bc of her love for jess. while the island, the staff, embrace frida as if she has always been, will find her way around just as she will find a way to enlightenment, handed venom as if it were benign, as if the island itself wanted her freed. pests, predators, turned to salvation, just as poison becomes a cure. the cure. and when the island has been said to be the garden of eden, enlightenment is truly then, the original sin. the genesis of awareness.

and thusly, frida reclaims power by hurting him, fed his own poison. frida now the snake, frida refusing to leave the island still. denied healing, alienated from it, and so stuck still. bound. bound too, as we watched them enjoy every intimacy except the physical, sharing the pain and trauma they’d been subjected to with a nearly ironic a-sexuality, transcendent of it. with slater seeing her as his best friend. exempt from death and equally so from release.

and that twisted, appropriative bond, the repurposing of trauma, and so feeling a sick sense of ownership over it, love for it, are equally present in frida keeping him from death.

her newfound, bleach white luxury, the disappearing stains and panopticon of elitism, are not horrific until they are, and you either embrace it, or you let it hurt. and frida, red rabbit running, red rabbit caught in slater’s sick, trivializing game, already likened to livestock by her name, decided to become the hunter instead. made high on the chase.

unlike slater who provides and subjects experiences onto others, now there is frida who takes and caters experiences for herself. all congratulatory. all good.

thusly, the movie is the trip, it’s delusion and entanglement and the self-eating snake, and trying to sterilize that is as futile as it is sacrilegious.

[stevengrantshubby]

frida: i have a great memory slater: 👀🤭

[plausible-possible-perhaps]

Zoë, I was familiar with your game, but holy shit. Holy fuck. Do more.

[horrorvillaintourney]

HORROR VILLAIN TOURNEY 2024, ROUND ONE MATCH THIRTY-ONE: Slater King (Blink Twice) vs. Ted Timmis (Oddity)

[thinkanamelater]

the blink twice movie was so fucked up but also incredible as well. and then today I was watching a YouTube video abt p-diddy where he posted a video when that footage of him abusing Cassie in a hotel was released and he was saying "I sought out professional help. I'm going to therapy. I'm going to rehab." And it made me genuinely freeze in fear because the same words were said in blink twice (2024) by the billionaire abuser.

I know they are generic PR words that famous people have to say to try to do some damage control but it was just so terrifying to hear those words, but this time by a REAL monster. not one in a fictional story. It was horrible.

here's the video I saw the clip in: https://youtu.be/C-Y5PI-uDFY?si=eMrVFaZzHP_W2MwM

Ohh yes every dialogue was just. So real. The moment when the guy (i forgot his name) was like "there's a special place in hell for people who do nothing" was CHILLING because that's really how abusers would offload their responsability on someone else.

Tbh i don't think i'll watch the clip you linked 😅 but thanks! It's a really good movie and it's very interesting to talk about!

[horrorwomensource]

NAOMI ACKIE & ALIA SHAWKAT as Frida & Jess in Blink Twice (2024)

[freshmoviequotes]

Blink Twice (2024)

[maxpadelchampion]

CHECOS FACE HES NOT HAVING IT

[lovelyy-moonlight]

Scarlett Johansson and Salma Hayek at the 'Blink Twice' after party.

[fuckyeahwomenfilmdirectors]

Blink Twice dir. Zoë Kravitz (2024)

[filmap]

Blink Twice Zoë Kravitz. 2024

Villa Hacienda Temozón, Km 182 Carretera Merida-Uxmal, 97825 Temozón Sur, Yuc., Mexico See in map

See in imdb

[stevengrantshubby]

i could talk about (really ramble) the color symbolism meaning whatever, in blink twice cause like...it really is something. and something ive been thinking about since forever.

also also also! i could ramble and speak on "you're like my best friend" for a while too. theres so much packed into that single exchange.

[dittaturamonegasca]

help checo 2024

the man clearly can't take it anymore