![]() In moments like these, when the narrative offers more than a passing interest in Toshi, we come to understand why his interactions with Chloe can feel so stilted: He is falling in love with his close friend’s wife, and that’s unnerving.īlood unfurls at a steady, unhurried pace, which, at times, makes it easier to appreciate some of the small moments and feelings on which the film meditates. ![]() When the young woman asks if he and Chloe are dating, Toshi mournfully dismisses the idea. “Chloe will like something like this, probably,” he wonders out loud in front of his date. The story prompts him to muse about Chloe and her life’s work. While he’s on a date with another woman, a chef explains to Toshi the process by which the restaurant prepares crabs. Tender interactions like these illuminate Chloe’s emotional state, giving viewers more to latch on to than her longing stares and anxious lip biting. But the key, he goes on to say, is to surround yourself with others, from whom you can learn new things and then see yourself and the world differently. Yatsuro affirms her perspective: “Human beings always think too much,” he says to her. They are discussing her photographs, but, it seems, the conversation extends to her life as well. She wonders if she is doing the right thing and about her inclination to overthink. One particularly poignant moment occurs while Chloe is traveling with her boss, Yatsuro (Issey Ogata). Occasionally, Gray gestures at bits of character development, but they are few and far between. Who is Chloe and where does she come from? Why go to Japan? How long has her husband been dead? Why does photography interest her? Who is Toshi outside of his burgeoning romance with Chloe? What are his desires? The characters remain frustratingly opaque. Yet the narrative’s inertia eventually stiffens these interactions, making them increasingly harder to indulge. Gray does an assured job capturing the languorousness of cross-cultural communication while mostly avoiding the pitfalls of condescension. Her communication with Toshi and his grandmother, neither of whom is proficient in English, comes off in fits and spurts. Chloe understands some Japanese but doesn’t speak it well. The awkwardness of their early interactions make up the beginnings of blood, which relishes the minute details of people getting to know one another. They are on their way to see Toshi’s grandmother (Sachiko Ohshima), an energetic old woman who tends an enviously lush garden. In the next moment, we see Chloe and Toshi driving along a verdant highway. An arresting opening sequence creates an inviting welcome to the film’s world: two trains chugging across bridges, river water glistening and the sun’s orange glow bathing the skyline. Gray and DP Eric Lin render Tokyo sensitively, the city and nearby countryside enlivened by the film’s soft focus. There’s a lot to marvel at in blood, especially when it comes to aesthetics. Rating: D.'Talk to Me' Review: Mingling With the Spirit World Brings Bone-Chilling Shocks in Australian Horror Debut Despite, good camerawork, there isn't really else to say about this movie instead it was dull and bland. Those the movie want to go this way or that way? Even if it wants to go either way, there's no lead way on where this movie is going. The pacing is the worst part of the movie as there is no headway where the movie wants to go. The emotions presented here are really one dimensional and very bland as there was very little to offer. Choices made from the characters really make you wanna roll your eyes or say something like "Oh my god, just get over it alright." The dialogue is garbage. None of the characters were interesting at all as they felt like basic characters you have seen for the millionth time in other better movies that exist in this world. All the performances were just meh and nobody really wowed me as anything special or captivating. It's nothing wrong to show beautiful camerawork in a movie but the story and development has to connect with it as well in order to fullfill it's purpose. Instead, he would rather focus on how beauty Japan is and the amazing culture aspects presented throughout the movie. It's very clear that Gray doesn't have any idea how to properly develop the story, character, and real in-depth emotions. Gray understands how to make shots and sets look really beautiful but this movie unfortunately becomes one of the most joyless experiences I have seen at the 2022 Sundance Film Festival. Blood is directed by Bradley Rust Gray and it's a story about after the death of her husband, a young woman travels to Japan where she finds solace in an old friend, but, when his comforting turns to affection, she realizes she must give herself permission before she can fall in love again. Saw this back at the 2022 Sundance Film Festival.
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