Love Lies Bleeding (2024) Review!!

Synopsis – A romance fueled by ego, desire and the American Dream.

My Take – Right from her debut feature, Saint Maud (2019), writer-director Rose Glass proved that she isn’t afraid to push boundaries when it comes to genre film-making.

And while her first feature was a taut chilling thriller that efficiently blended elements of horror with psychological drama, her sophomore turn sees her once again challenge expectations with a stylish and unsettling neo-noir romantic thriller set in the 80s.

Evoking memories of classic B thrillers with its neon-drenched aesthetic and underlying themes of obsession and desire, the resulting film is endlessly thrilling, unapologetically grisly, and potently lustful in its perception of love, or in this case, more so in the idea of attachment.

Yes, the pacing can be uneven at times, and it is kind of feature that isn’t for the faint of heart as it revels in its own darkness, challenging us with its graphic violence and some elements of body horror.

But for those seeking a different experience that’s both thrilling and thought-provoking, this one indeed does provide a 104 minute escape into madness. But I do have to preface that this is an A24 flick and your enjoyment will very much hinge on that.

Set in the southwest in the year 1989, the story follows Louise “Lou” Langston (Kristen Stewart), a queer gym manager working at a sweaty sports center decorated with preening patrons and motivational posters. Though she hates her life Lou refuses to leave out of concern for her sister Beth (Jena Malone), who’s often the victim of abuse at the hands of her sleazy husband J.J. (Dave Franco).

However, her life changes when she meets Jaqueline “Jackie” Cleaver (Katie O’Brian), a dedicated homeless bodybuilder, who is in town training for the upcoming competition in Las Vegas. A welcome respite from Lou’s life outside, which involves dodging the meth-stained smile of her former hook-up (Anna Baryshnikov). Though a budding romance quickly begins, an unexpected situation sets the couple direct in contrast with both the law enforcement and Lou’s gun smuggling estranged father Lou Langston Sr. (Ed Harris).

Co-written with Weronika Tofilska, what begins as a cheerfully horny romance takes a sideways lurch when Jackie commits an act of violence in Lou’s name. Hopped up on testosterone, Jackie becomes the hulk in a black bikini, grotesquely smashing in her victim’s face. Here, director Glass refuses to spare her viewer the visceral details.

The opening scene alone is a testament to her exceptional vision as a filmmaker, beautifully setting up the narrative that unfolds with both tension and intrigue with sweaty and ripped camera shots.

While the plot takes some wild turns, it’s the film’s thematic exploration that lingers. As director 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.

She injects a contemporary dose of female empowerment, subverting the stereotypical femme fatale trope. Jackie and Lou aren’t damsels in distress; but complex characters with their own agencies, which adds a layer of intrigue to the narrative.

Although profoundly gripping and impossible to tune out, this is definitely not for squeamish viewers. The violence here is quite ferocious. The tension is at times a turbo-charged level. Unlike many other films, this one is not afraid to show that sex is sometimes ugly. The underlying emotion can make it beautiful, but both Lou and Jackie also frequently use passion as a means of avoidance.

There’s very much a sense that the story may be leaving the characters psychologically more damaged than they were at the beginning. Of course, not all of director Glass’s provocations achieve the same effect especially the ones that include body horror. The third act is also particularly messy, leading to unintentional laugh-out-loud moments. This culminates in utter confusion when the film reaches its climax, which involves an only somewhat foreshadowed supernatural element.

Yet, it helps that the film is backed by some really good performances. Kristen Stewart delivers a raw and intense portrayal of Lou. 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, a real-life former bodybuilder and police officer, 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.

Ed Harris is appropriately creepy and believable, Dave Franco surprisingly sells the slimy douche bag act, and Jenna Malone manages to garner sympathy. On the whole, ‘Love Lies Bleeding’ is an unconventional thriller that pushes boundaries by being exceptionally tense, violent and bloody.