Bliss (2019) *** [Joe Begos Double Feature Pt. 2]
It was interesting to watch Joe Begos' second and third features back-to-back. With its gritty Super 16 mm look and a strong uninhibited central performance from Dora Madison (who the film spends most of the running time with—she's basically in every scene), Bliss (2019), Begos' sorta vampire film, is a noticeable improvement from his first two films (my reviews here and here).
In addition to the benefit of being shot on film and having a lead that is willing to go the distance for the role, Bliss feels like Begos making his own film for the first time. Yes, there are definitely elements borrowed from Gasper Noé and Abel Ferarra, but it feels less like copying and more like expression this time—to the point where, in some regards, Bliss actually feels like a genuine grindhouse film from the early 80s.
While a drugged-out artist who treats her friends and acquaintances like shit and spirals downward doesn't beg much sympathy and while there is a deeply nihilistic streak in the film, I still found it more engaging than Begos' previous two films. Dialogue-wise though, it would be great if Begos could find another adjective besides "fucking" for his characters to use five times in every sentence.
There is a warning for light-sensitive viewers at the beginning of Bliss (2019) which is definitely justified—I don't think that I've seen another film with quite so much strobing. That aspect of the film got old for me quick, but the inventive gore did not—I think it was the most impressive of Begos' first three features. I still wasn't in love with Bliss but after this one I'm looking forward to watching VFW (2019)—with its roster of name character actors and the fact that it's the first film that Begos didn't write, I'm hoping it may be his best yet.
In addition to the benefit of being shot on film and having a lead that is willing to go the distance for the role, Bliss feels like Begos making his own film for the first time. Yes, there are definitely elements borrowed from Gasper Noé and Abel Ferarra, but it feels less like copying and more like expression this time—to the point where, in some regards, Bliss actually feels like a genuine grindhouse film from the early 80s.
While a drugged-out artist who treats her friends and acquaintances like shit and spirals downward doesn't beg much sympathy and while there is a deeply nihilistic streak in the film, I still found it more engaging than Begos' previous two films. Dialogue-wise though, it would be great if Begos could find another adjective besides "fucking" for his characters to use five times in every sentence.
There is a warning for light-sensitive viewers at the beginning of Bliss (2019) which is definitely justified—I don't think that I've seen another film with quite so much strobing. That aspect of the film got old for me quick, but the inventive gore did not—I think it was the most impressive of Begos' first three features. I still wasn't in love with Bliss but after this one I'm looking forward to watching VFW (2019)—with its roster of name character actors and the fact that it's the first film that Begos didn't write, I'm hoping it may be his best yet.
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