Bliss (2019) film review - a bloody, drug fuelled dream

★★★☆☆

Described as a ‘vampire drug’ movie, ‘Bliss’ explores the frustration of an artist searching for inspiration in the dark underbelly of Los Angeles.

Director: Joe Begos. Starring: Dora Madison, Tru Collins, Jeremy Gardner, Rhys Wakefield. 18 cert, 80 min.

I have to admit, I didn’t really know what to expect going into this film. Described by its director, Joe Begos, as a ‘descent into hell,’ ‘Bliss’ explores the frustration of an artist searching for inspiration in the dark underbelly of Los Angeles. Dezzy, played by Dora Madison, falls into heavy drugs in an attempt to finish a piece for a gallery exhibition. Things go awry, and the artist is left with big gaps of missing time as she finishes her painting in drug-fuelled bursts. It soon becomes evident that the drugs aren’t just allowing her to complete her painting but are changing her on a more sinister level; specifically, she develops a thirst for human blood. This film has a great premise, and I enjoyed its simplicity. Instead of relying on jump scares or a convoluted storyline, ‘Bliss’ delivers a strong lead performance, plenty of flashing lights and a lot of gore. 

Bliss (2019) film poster artwork

A cross between ‘the lost boys’ and ‘enter the void’

Having never watched a Joe Begos film before, I was pleasantly surprised by 'Bliss.' Though its storytelling could be perceived as vapid or superficial, I found it refreshingly simple. It would almost feel like a tribute to the classic slasher/vampire movie genre if it wasn’t for its hallucinatory, almost psychedelic cinematography. Because of this it better resembles a cross between ‘The Lost Boys’ and Gaspar Noé’s ‘Enter the Void’ with its depiction of beautiful LA party goers as bloodthirsty ghouls. This is what Begos does particularly well, and as a viewer you feel yourself unwittingly drawn into the grimy nightlife and downward spiral of Dezzy.

The protagonist, Dezzy, is not at all likeable. In fact, none of the characters in ‘Bliss’ are likeable. Selfish, indulgent, coarse, and constantly chasing their next high, they represent all there is to hate about the younger generation. As a result, you find yourself not really caring one way or another when Dezzy gets hooked on a new, experimental drug called Diablo; described by her dealer and friend as a mix of DMT and cocaine. From that point on, ‘Bliss’ becomes a blood-soaked gore fest with a standout 90s punk rock soundtrack. From ‘The Nymphs’ to ‘Deth Crux,’ the film’s music is a great backdrop to the mental and physical change which occurs within Dezzy. This, combined with the relentless strobe lighting, means that ‘Bliss’ takes on the form of an almost continual climax with little respite given to its viewers.

The significance of art and sacrifice

Warning: contains spoilers. Central to Begos’ work is, of course, the piece of art that Dezzy creates. In the film’s earliest scenes, the artwork consists of a large canvas of red and orange. In other words, it is uncompleted, and acts as a constant reminder of unpaid rent and artistic failure. Over the course of the film, we see a female figure emerge, and the red and orange backdrop manifests into flames. This may be reflective of the world Dezzy has entered. LA’s party scene is depicted as a fiery hellscape, and we get the sense that Dezzy has sacrificed something in her pursuit of a masterpiece. The people climbing up the larger, female figure are reminiscent of worship, and for me the artwork is representative of the person Dezzy has become.  

‘Bliss,’ art, and worship

Throughout the film, the idea of sacrifice is central. Consumed entirely by bloodlust, Dezzy ends up devouring her friends, her dealer, and even her partner. These are the sacrifices she must make to finish her artwork. The final sacrifice is displayed in the film’s finale. Having completed her masterpiece, Dezzy stands back to admire her work, covered in the blood of her victims. The sun rises, unveiling her art in all its hellish glory, and she appears to explode, splattering it in her remains. The question Begos leaves us with is whether the Diablo has transformed Dezzy into a literal vampire who perishes when the sunlight hits her, or whether this scene is simply another hallucination fuelled by the drugs. This is all down to your perception of 'Bliss,’ but I am inclined to go down the vampire route. Not only does Dezzy die in a similar manner to her friend Courtney, who suffered from a similar bloodlust, but it makes the film end on a bittersweet note with a surprisingly prescient message.  

a social commentary on art?

The irony in Dezzy dying upon her art’s completion is that she is never able to enjoy the praise it would bring her. Much like Van Gogh, her work will only be recognised upon her death. This is particularly significant considering her evident need to be worshipped, which is displayed throughout the film. When confronted by her partner Clive, played by Jeremy Gardner, about her drug use, Dezzy is more concerned about his lack of recognition of her talent than the disintegration of her relationship and health. As such, ‘Bliss’ can be interpreted as a story about an artist sacrificing everything for her art and receiving little in return. However, perhaps this is too charitable of a reading. Though certainly entertaining and effective in its visceral deliverance of vampire-themed gore, if you go into ‘Bliss’ expecting a cinematic masterpiece you will be sorely disappointed. There is little character development, a lack of context, and the film feels rather shallow in parts as a result.

Should you watch this before you die?

Despite this, ‘Bliss’ is definitely worth the watch. It manages to take the well-worn vampire trope and transform it into something refreshing, exciting, and at times terrifying. Begos presents a cautionary tale regarding addiction and depravity with captivating visuals and a punk rock soundtrack which makes this film an experience you won’t want to miss out on. For fans of body horror or for those looking for something different from a genre filled with clichés, Begos’ work will not fail to deliver. Overall, ‘Bliss’ is one of the many new horror flicks released recently which relies on cinematography to deliver its scares, and honestly, I think it does it far better than the box office hit ‘Midsommar.’ For this reason if not any other, you should put it on your watchlist.