Bransjebladene Variery og Hollywood Reporter har talt: Eskil Vogts debutfilm Blind får positive kritikker etter premieren i Sundance på søndag. Særlig Varietys profilerte kritiker Scott Fundas er begeistret:
“This standout debut feature for screenwriter Eskil Vogt retains many of the literate, self-reflexive touches Vogt brought to his collaborations with helmer Joachim Trier (chiefly “Reprise”) while finding its own alternately droll, sexy, heartbreaking rhythms. . The result should go far on the fest circuit following premiere berths at Sundance and Berlin, where it is sure to draw the attention of discerning arthouse distribs.”
Fundas fremhever filmfotograf Thimos Bakatakis (“Dogtooth), klipper Jens Christian Fodstad (som skriver om klippeprosessen i nyeste utgaven av Rushprint) og ikke minst Ellen Dorrit Petersen i hovedrollen.
“Vogt keeps his risky high-wire act in nearly perfect balance for all of “Blind’s” 95-minute running time. Petersen, a classic Nordic beauty with alabaster cheekbones and narrow, piercing eyes, is brilliant at showing how Ingrid’s blindness affects every inch of her being — how she moves, writes, dreams, and how she feels about herself as a woman”.
Hollywood Reporters kritiker er i hovedsak positiv, særlig i forhold til manuset, men har enkelte innsigelser.
«Though the film’s structure makes it very hard to warm to the protagonist until very late into the proceedings, Vogt finally manages to not only suggest what the world of a blind person must be like in terms of the countless everyday impracticalities but also what it could do to the inner life of a thirty-something woman who’s married and would’ve liked to have children».
Men han synes Vogt holder kortene for tett mot brystet.
«The theme’s there for the taking and the screenplay’s certainly masterfully constructed and even has some humor as well as plenty of drama but it also has one major disadvantage: once the audience realizes that not everything is necessarily real, any emotional involvement with any of the (potentially fictional) situations or characters is relegated to the back burner, turning the film into a somewhat clinical narrative puzzle until all the cards are on the table.»
