Blind

Eskil Vogt

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4.00

Blind

Synopsis

Having recently lost her sight, Ingrid retreats to the safety of her home—a place where she can feel in control, alone with her husband and her thoughts. After a while, Ingrid starts to feel the presence of her husband in the flat when he is supposed to be at work. At the same time, her lonely neighbor who has grown tired of even the most extreme pornography shifts his attention to a woman across the street. Ingrid knows about this but her real problems lie within, not beyond the walls of her apartment, and her deepest fears and repressed fantasies soon take over.

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Recommendations

91
The Playlist
This is a peculiarly beautiful film, with lingering sustain and the kind of hard-won optimism that feels truthful as well as hopeful.
90
Variety
For all the obvious pleasure Vogt takes in bending and splintering the surface reality of the film, all his formal strategies issue directly from Inrgid and her fragile, profoundly human psyche.
88
RogerEbert.com
It is about those human elements that transcend the five senses—loneliness, jealousy, fear, etc.—and how they are heightened in times of stress. However you interpret it, Vogt's film lingers, haunting like imagery that refuses to fade away in memory.
83
The A.V. Club
All this nesting-doll storytelling might feel hollow if Blind didn’t possess such a solid emotional foundation.
80
CineVue
While the film's mischievous narrative manipulation will inevitably irk some viewers, this beautifully rendered opportunity to view the world through the eyes of those who can no longer see is a smart and moving portrayal of living with an ocular condition.
80
Total Film
Vogt’s droll, daring meta-drama flows in subtle, surprising fashion. Petersen provides a magnetic focus for a mischievous, moving debut.
80
The Telegraph
Vogt gives us a brilliantly slippery handle on the rules of this rather twisted game, but also makes it real, in that it’s coming from a place of authentic terror, anxiety and loneliness in Ingrid’s head. Intellectually exciting though his film’s gambits are, they feel like acts of tremendous imaginative empathy – lightbulbs in the dark.
80
Empire
This reflection on isolation, technology, creativity and desire brilliantly blurs the lines between perception and voyeurism, the objective and the subjective.

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