Zoë Kravitz was born into a famous entertainment family so the Kravitz name comes with a certain gravitas.

The idea behind Blink Twice came to Kravitz when she grew up around the serious movers and shakers who could make or break careers. Certain things were tolerated until they reached a breaking point. Navigating this career maze became even more complex if you’re a woman. Communication often became non-verbal – a frown, a raised eyebrow, a warning jaw drop, or a blink – one blink for yes, two for no. This coded communication formed the genesis of Zoë’s unsettling psychological thriller turned horror film co-written with E.T. Feigenbaum.

Everyone in the business knew about the savage exploitation of women, but few were willing to speak up, let alone be heard. Then, Harvey Weinstein and Jeffrey Epstein blew up and the #MeToo movement was born.

Kravitz assures that Blink Twice isn’t specifically an autobiography or about one person. It captures a collective experience at a turning point, where what was once common, is now criminal.

Kravitz calls it out but doesn’t overtly dwell on it. Blink Twice runs along a parallel thematic track.

The Changing Nature Of Power

Blink Twice begins its journey in reliably familiar territory. Aspirational Frida (Naomi Ackie) who’s life doesn’t extend beyond scrolling social media posts, charms her way into an exclusive gala fundraising event on equally charming Slater King’s (Channing Tatum) private island with her best friend/ roomie Jess (Alia Shawkat). This is her chance to “not be invisible anymore.”

The confiscation of everyone’s phones upon arrival is a harbinger of things to come. This is no ordinary fundraiser despite the sumptuous luxury and exaggerated reality. Every indulgence is catered for without an off switch. The cocktail bar is always open.

Zoë Kravtiz and Slater King (Channing Tatum) Photo courtesy of Amazon Studios

Blink Twice oscillates between living the dream and living the nightmare as it explores the various stages of power among its characters – acquisition, abuse, and loss.

Rather than opting for a purely dramatic narrative, Blink Twice unfolds as a psychological thriller film to make its point right as the real world events unfolded around Kravitz. Zoë didn’t want to make a movie about victims or give the industry a sharp smack on the wrist to do better. “I wanted to see a group of women become full characters and see them emerge into their power.”

Geena Davis who plays Stacy, is one of Slater’s sisters represents the complicity in the events. Although not overly-explored, she does broach a sensitive angle to the film’s theme.

The movie isn’t so much about “girl power” than it is about reclaiming one’s agency, visibility, and commanding respect.

Kravitz ensures her film isn’t simply a smackdown with its unbalancing tonal mix of creepiness, uneasiness, with the occasional comedic garnish tossed in which sometimes turns into laugh out loud absurdity. The darkly sharp social satire about tech bro culture juxtaposes against the feeling of dread in the film.

The horror component kicks in during the after party as bodies disappear and blood flows.

Beware Of The Tech Bro

Slater King is the archetypal psychopath. Handsome, endearing, disarming, and makes you feel that not all men are bad until he proves otherwise.

Zoë Kravitz and Channing Tatum experimented with many versions of Slater’s character before they settled on the current version where the audience knows exactly who he is early on.

Frida isn’t portrayed as an innocent victim. She’s manipulative and assertive. She’s actively chasing the dream of a better life. Good for her.

Blink Twice doesn’t constantly bludgeon its audiences with a tale of sexual predators. It subtly focuses on the expectation that woman are taught to accept unwanted sexual advances as part of the job. Trauma be damned. Forget about it. Dust yourself off and move on. Think of it as a sports injury that will heal on its own.

There’s a reason for the loss of memories in the film as it delicately balances the literary with allegory as Frida questions her perception of reality and time. Nobody knows what day it is and strange injuries spontaneously manifest.