It doesn’t get more genre cinema than a gritty crime romance drama set in the middle of the rural U.S. desert. So many films have headed in this direction before, and the quality of them runs the gamut. It’s to the point now where one can assume exactly what kind of film it’ll be based purely on this setting. Rose Glass’s (“Saint Maud”) new film “Love Lies Bleeding” certainly seems like that kind of a film, and it is... until it isn’t.
The film follows Lou, played by Kristen Stewart (“Twilight,” “Spencer”), a reclusive manager at a New Mexico gym who soon falls into a romance with Jackie, played by Katy O’Brian (“Z-Nation,” “The Mandalorian”), a bodybuilder who comes to town looking for work before a bodybuilding competition. She finds work via Lou’s brother-in-law J.J., played by Dave Franco (“21 Jump Street (2012),” “The Disaster Artist”), with Lou’s estranged father Lou Sr., played by Ed Harris (“Westworld (2016),” “The Truman Show”), which complicates Jackie and Lou’s relationship before things begin to spiral.
Stewart works wonders as a lanky specimen of lesbian angst and nerves. She embodies a kind of threatening string bean role that feels remarkably different from anything else she’s done before, without straying too far outside of her established skills. O'Brian is a specimen of muscular emotion, effortlessly swinging between “teddy bear” energy and genuinely threatening presence. Franco is a limited but smarmy presence that radiates genuine malice, and Harris is a constant time bomb, truly feeling as if he could explode and ruin things for these characters at a moment's notice. Jena Malone (“Contact,” “The Hunger Games: Catching Fire”) has a smaller role as Lou’s sister and J.J.’s wife Beth and is heartbreaking and overall fine in her part. Anna Baryshnikov (“Dickinson,” “Superior Donuts”) is an unnerving and uncomfortable and fantastic presence as Lou’s infatuated borderline stalker Daisy.
The biggest strength of the film, outside of Stewart and O’Brian’s fantastic chemistry, is the general feel of it all. Things are often dripping with inky blacks and neo-noir stylings, giving even the cleaner and nicer chunks of this New Mexico-set tale a seedy feeling. Glass keeps the pace moving smoothly, allowing things to boil and feel as though the violent conclusions are simply inevitable. It’s the sort of film that’s borrowing from plenty of influences but keeps things moving and absolutely puts its own stamp on things.
As things progress and get increasingly more manic and weird, Glass’s deft hand keeps the ship afloat, even as it threatens to capsize under the weight of its queer and noir ambitions. The musical score from Clint Mansell (“Black Swan,” “Requiem for a Dream”) does wonders to help with this, as his cool synth music almost acts like a bucket of ice water for the viewer to keep things from burning too hot.
Themes of abuse and addiction are clear within the entire picture, and Glass embraces them without allowing them to overwhelm the pulpy, bloody soul at the center. Even as the film spirals towards truly becoming unbelievable in its conclusion, the deft and assured vision at the wheel makes sure things never go becomes ridiculous or turn into self-parody. It still won’t be for everyone, but somehow Glass has her steroid filled cake and eats it too.
Rose Glass’s latest is an absolutely delicious piece of new queer media. It feels violent and aggressive yet also wants to use those emotions to explore themes of abuse and addiction in various ways with its characters. Stewart and O’Brian are electric together, and Harris proves he can still be a terrifying screen presence. It’s a pulpy, sultry, bloody good time and one hell of a sophomore feature. 4.5/5
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