Love Lies Bleeding

Rose Glass, the visionary director behind Saint Maud, throws another punch with Love Lies Bleeding, a neo-noir crime thriller that's both stylish and unsettling. Lou, a cautious gym manager, has her world turned upside down when she develops feelings for Jackie, a dedicated bodybuilder in Las Vegas training for a competition (Katie O'Brian). Sparks fly, but their budding romance gets entangled with Lou's dark family secrets, propelling them down a violent path.

Love Lies Bleeding isn't afraid to push boundaries. It evokes memories of classic thrillers like Body Double, with its neon-drenched aesthetic and underlying themes of obsession and desire. However, Glass injects a contemporary dose of female empowerment, subverting the stereotypical femme fatale trope. Jackie isn't just a damsel in distress; she's a complex character with her own agency, which adds a layer of intrigue to the narrative.

The film's greatest strength lies in its central performances. Stewart delivers a raw and intense portrayal of Lou, a woman yearning for connection but burdened by her past. O'Brian matches her intensity, embodying the steely determination and vulnerability of Jackie with remarkable nuance. Their chemistry is undeniable, making us invested in their tumultuous relationship, even as things spiral out of control.

While the plot takes some wild turns, it's the film's thematic exploration that lingers. Glass dissects the destructive nature of desire, and the lengths people go to in the name of love-or perhaps, obsession. The violence, though brutal, feels purposeful, serving as a metaphor for the emotional turmoil the characters endure.

Admittedly, the pacing can be uneven at times. The first act establishes the characters and their connection beautifully, but the middle section drags a bit as the focus shifts towards the criminal underbelly. However, the film regains its momentum in the final act, culminating in a climax that's both shocking and strangely cathartic.

Technically, Love Lies Bleeding is a knockout. The cinematography is sharp, using bold colours and contrasting lighting to create a visually arresting world. The pounding score complements the film's intensity, while the editing keeps the narrative taut without sacrificing character development.

Love Lies Bleeding isn't for the faint of heart. It's a film that revels in its own darkness, challenging us with its graphic violence and unconventional love story. But for those seeking a neo-noir experience that's both thrilling and thought-provoking, this is a film that will stay with you long after the credits roll.

Love Lies Bleeding is a film with flaws, but its bold direction, phenomenal performances, and exploration of complex themes make it a worthwhile watch, especially for fans of unconventional thrillers. Just be prepared for a wild ride.

My first thought was it feels like the gym was depicted in the way someone who doesn't go to the gym imagines the gym is like. Like they watched Pumping Iron instead of visiting the nearest gym. It's like if Pumping Iron was a raunchy, lesbian, blood-soaked psychedelic experience. With a dash of crime family drama.

I found the cinematography of the movies to be quite impressive; it had a captivating aesthetic. Although it's not on an epic scale and mostly unfolds in remote settings, it's mesmerizingly filmed with themes of sex and violence. The characters are pretty good, so were the actors playing them. Kristen Stewart was Kristen Stewart, I think you already know what to expect when you see her in a movie, and I think she was pretty good. It took me a while to realize I recognized Katy O'Brian from The Mandalorian. I loved that she was homeless but still working out; if she can get swole living under a bridge, what's your excuse? Lol.

Theres a huge emphasis on smoking and drugs, it's a pretty big theme and mostly referenced on the radio. The story is alright, there's a love, crime and family drama.

It's quite raunchy. I wasn't expecting that, but I suppose the movie did give off those vibes. I just didn't watch any trailers or anything and went in blind. It also included some other adult/mature content like domestic violence. It's quite gory as well. Initially, it felt like it was penned by a man; I was surprised to learn it was written/directed by a woman afterward. I recall thinking that there will probably be a lot of people commenting on this, expressing their displeasure with how women are portrayed in movies written by men.

The movie had several moments where I thought to myself, well that's taken a weird turn. It gets more weird and weirder the longer in goes. It's really weird that it was common/normal back then to just hit your wife. It was jarring to watch. Franco's character is probably the worst one.

It's also one of those movies where none of the characters are good people, it's just bad people making bad decisions, in the name of love. I didn't really find myself rooting for anyone and l didn't feel particularly attached to the movie as a whole. I feel like it could've been better, and by better I mean more psychedelic, more violent, maybe even disturbing. It's not a movie for everyone, but it's pretty interesting and I enjoyed it. I like it but I don't know if it'll still be on my mind a month from now.

When I saw the trailer for this film there was something that immediately attracted me to it. Yes the gritty set-in-the 80s look has been done before but seldom as well as this. The setting is bleak, the characters lost in various ways and the only ways out present great danger.

I was immediately drawn to the central characters and was invested in their plight. The film walks a fine line between gratuitous sex and violence and realism perfectly, however the film deviates into a fever dream that I for one loved. I will say that a film that takes as many risks as this will not be for everyone, but that's completely valid. Thank the heavens that there's still someone out there prepared to take the risk, stray from formula and let the audience decide.

This isn't some jam down your throat gay movie. It's a movie with characters that happen to be gay. As someone who typically gets annoyed by movies that attempt this over the last decade now, I would say it wasn't overwhelming or assertive at all. Straight forward plot, but never getting too predictable. It does a wonderful job of showing fresh exciting love being deconstructed by the realities of life very well.

It was also the perfect length. It never feels like it's dragging on or being rushed.

Acting was above average for today's standards. Nobodies acting got in the way of the plot. Overall decent way to spend an early afternoon.

Expect of heavy sex scenes in the first third or so btw.

'Love Lies Bleeding (2024)' is a sweaty, grimy, bloody romantic crime thriller about a disillusioned woman who falls in love with a bodybuilding hitchhiker whose steroid-infused rage soon lands both of them in big trouble. It unashamedly - proudly, even - takes the often explicitly cishet, masculine revenge/crime-gone-wrong genre and tells it from a distinctly LGBT+, feminine angle that doesn't feel exploitative despite its graphic nature. It also doesn't box itself in with that 'feminine' label, allowing its female characters to exist with all the complexities and imperfections usually afforded to their male counterparts. It's refreshing to see a story like this be told from a creative team of primarily women, and director Rose Glass continues to impress with her sophomore feature. Filled with palpable texture and peppered with moments of stark surrealism, the feature typically avoids convention despite telling a fairly conventional tale. It's the kind of film you can almost smell, a dirty and down-to-earth representation of small-town America that's the opposite of 'Hollywood' (whatever that term is typically associated with). Its moments of shocking violence punctuate the interpersonal drama at its core and inherently raise its stakes. Kristen Stewart is really good a Lou, with a non-showy performance that feels tactile and real. She's able to hide a real darkness just beneath her shy yet brash exterior, and her initially meek interactions with Katy O'Brian believably bubble into the full-blown immersion associated with head-over-heels love. O'Brian turns in similarly impressive work, portraying a dangerous but vulnerable person whose inner life is layered and messy and likely not all that much more stable prior to her experiments with steroids. She's so ripped she could easily play She-Hulk without the aid of CGI (which, incidentally, I'd love to see), but it isn't her stunning physique that leaves the strongest impression and that's no easy feat. The supporting cast do a good job at making the world feel palpable, with Ed Harris' hair extensions always threatening to outact everyone they share a frame with (Harris himself is good too, of course) and Dave Franco channeling his brother to convincingly play a real creep (and somehow garner a hint of sympathy with a single word in his most memorable scene). Although it's not always as exciting or intense as I'd like, the piece has a strong atmosphere throughout and its world really does feel tangible. Its complex characters constantly reveal darker and darker aspects of themselves, all while its heroes fall deeper and deeper into an all consuming romance that might just doom them both. Its infrequent violence is as shocking as it is affecting, and its confident surrealism gives it a slightly ambiguous air that adds to its overall effect. It's a strong example of female and LGBT+ representation, too. It's not as good as Glass' previous picture, 'Saint Maude (2019)', but it's a really solid follow-up that's effective pretty much across the board.