Virginia O’Connor gives focus to independent drama Blurred Lines.
A New Year’s party rapidly becomes a ‘New Fears’ party for three couples. Blurred Lines explores brave and relevant subject matter and conveys it on screen in a captivating way.
The female lead, Chris (played enchantingly by Siobhan Aislinn) is noticeably disturbed and distracted throughout the party. The subtextual implication is that Lucas (Mark Agar) had recently taken advantage of her with unwanted sexual contact. He’s not only a member of her peer group, but he’s the boyfriend of her best friend Jane (Vanessa Schaefer). Jane also seems very unsettled at the party. Her hesitation to drink alcohol and apprehensive demeanour imply a possible pregnancy. Bickering couple Ashley (Caroline Quinn) and Eve (Sofi Sabbatini) encourage celebration of the festivities by indulging in a dangerous alcoholic concoction; a catalyst ensuring the entire night is a recipe for disaster.
Within the opening moments there is a striking montage of these young characters enjoying themselves. They begin celebrating, and the atmosphere is elevated by the lighting design, featuring flickering fairy lights. This moment of magic is short lived, and in the next scene the lights are lit and still: serving as a reflection for Chris’ internal struggle. The initial flickering conflates with the ‘blurred’ perception of this traumatic event which is racing through Chris’ mind nonstop. This is until she has her ‘lightbulb’ moment of realisation. She can prove that she didn’t give her consent to Lucas.
Director Mark Agar curates this narrative with a strong visual language. The small round mirror in the kitchen served as a portal; every time a character gazes at themselves it, a flashback is triggered. This allows momentary glimpses of Chris drunkenly walking home with Lucas, emphasising her decision to kiss him, however briefly. Her feelings for Lucas, despite them both being in relationships, revealed as complex.
Throughout the characters’ shared space there are many physical presentations of lines, notably in the production design and clothing. Even the chairs in the kitchen feature a design of bars. Also, the used false tan mitt in the kitchen of Jane’s home The presence of a false tan mitt in Jane’s kitchen hints at her flustered state of mind.
The tension is built up brilliantly as the film unfolds. Brian (Robert Anthony Flynn) had proposed to Chris a few days earlier, to which she responded with visible discomfort. This is ostensibly not only because of the horrific experience, but also as Brian’s decision to propose has been made because he believes this is what he should do at this stage of his life and not because of his love for Chris. Brian appears focused on achieving typical societal ideals for his age bracket. These are also echoed by Lucas who, at the New Year’s party expresses his anxieties about ageing and not being remembered—although he will ironically will be remembered for the worst reason. While the tension between Jane and Chris could be cut with a knife, they each have a pining to open up to one another as best friends, but both are struggling to come to terms with their respective situations.
Chris’ devastating situation is one that many people—men and women—unfortunately find themselves in. Giving the lead character ‘Chris’ a unisex name is a clever tool to stress how this situation could be anyone’s. Overall, Blurred Lines delivers such a hard-hitting and important message of self-belief. A powerful film enhanced by a beautiful score and with so much depth.
Blurred Lines screened in the Stella Ranelagh on 20th August 2024.
