"A lurid, original and engaging love story": Love Lies Bleeding
Rose Glass' kinetic thriller swaps the gothic Scarborough of her debut with sun-drenched 80s America, with excellent performances from Kristen Stewart and Katie O’Brian.
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Love Lies Bleeding is British director Rose
Glass' latest release following her 2020 feature debut, the Scarborough-set religious
psychological horror Saint Maud. This follow-up feature shows that
Glass is a director who possesses versatility in her storytelling as
she substitutes the slow-burn gothic tone of her first film for a kinetic
thriller set in 1980s sun and neon-drenched America.
The film focuses on
Lou (Kristen Stewart), a gym manager who quickly falls for
female bodybuilder Jackie (Katie O’Brian), who happens to
work at a gun range run by Lou’s crimelord father (an unsettlingly
reserved Ed Harris). When Lou’s sister is hospitalised by her
scumbag husband (Dave Franco), events take a violent turn which
disrupt the lives of everyone involved. Stewart gives an excellent
performance as the edgy and neurotic Lou, outshined only by a
star-making turn by The Mandalorian’s O’Brian.
As the film opens
with a gym toilet clogged with vomit, it's clear there is a focus on
the body and what we do to it in pursuit of what we want, whether
that's our own or someone else’s. Junk food like pancakes and
milkshakes have never looked more unappealing on screen while Jackie's
increased reliance of steroids sends her on a downward spiral. Whether it's nicotine-stained teeth or a bloody corpse, Love Lies Bleeding is
unafraid of showing the physical repercussions of people’s actions.
This focus lines up
perfectly with the film’s subversion of masculine staples, as the
women take things into their own hands while the men hide behind weapons or resort to domestic abuse in an attempt to feel
strength. Many shots of bulging muscles feel plucked out of a
Schwarzenegger blockbuster, but they place O’Brian’s Jackie as the symbol of power.
Love Lies Bleeding sometimes struggles to live up to its high ambition, moving as it does between romance, revenge thriller, neo-noir and body horror at a breakneck pace, including a head-scratching tip into surrealism in the final few minutes. But despite this tonal whiplash, it's a lurid, original and engaging love story which solidifies Glass as one of the UK’s most exciting and versatile new filmmakers.