Hollywood seems to be obsessed with making big budget action movies which are overloaded with ludicrous set-pieces, vastly overpaid stars and plotlines which could be written on the back of a cigarette packet. All covered in lashings and lashings of obtrusive and often terrible CGI. There’s an obsession with bigger and louder. However, some of the best thrillers are the complete opposite. Take Gustav Möller’s brilliant 2018 film, The Guilty. The story of a call-centre worker trying to save the life of a caller. Blast follows assuredly in its footsteps.
It seems like just a normal day for Fred (Pierre Kiwitt) when he has to get his partner Sonia (Nora Arnezeder) to come down and start her hi-tech car. However, when the ignition fires up, she’s trapped inside with her son and his daughter; a countdown appearing on screen. As part of an expert bomb-disposal team, she’s used to working under pressure. Calling in the help of her colleagues Igor (Rasha Bukvic) and Camile (Sara Mortensen), they quickly get to work. While the clock ticks down, it soon becomes clear that there’s something bigger at play.
Shot entirely in one location, Blast (Déflagrations) is a taut, intelligent and brilliantly written thriller which tackles a number of issues through one big problem. The charm of Vanya Peirani-Vignes’ feature debut is the breakneck pacing, twisting plot and believable acting which ensure you’re on the edge of your seat throughout. Not content with merely creating one of the most intense films of the year, Blast also has a lot more to say for itself. It’s breathtaking cinema.
Blast screens at Grimmfest.
