Blind Spots (2021)

2022 SLAMDANCE FILM FESTIVAL REVIEW!

A sex scene is in the process of being filmed by an international film crew. As the sun threatens to ruin the scene another terror rises and threatens to do something far worse. As the director (Leon Ullrich) makes unexpected and unannounced changes to the scene, he and the intimacy coordinator (Julia Effertz) don’t see eye-to-eye anymore. Blind Spots expresses the difficulties that lie behind the scenes during a scene of this nature, the personalities that pose threats to production, and the people who must fight for what they believe in.

I’ve never looked deep into the production of a sex scene–I’ve simply accepted them at face value and moved on. However, Blind Spots sheds some light on the intense negotiations and the number of people that play a role in developing a scene of this nature–and it’s extensive.

Viewers don’t often get to see what really occurs behind the scenes of an intense film–even in “making of…” sorts of documentaries. Those films often showcase the positive relationships that exist on set and omit the sometimes tumultuous relationships that co-exist when things get difficult or time becomes a factor. There’s genuine honesty present in Blind Spots, as writer-director Luis Schubert presents the world with what filmmaking can really look like. The waters can be dangerous on set, especially when you have two pivotal individuals struggling to find common ground–and that drama transcends the entirety of Blind Spots and invites viewers into the real, sometimes less-than-enjoyable, world of filmmaking.

That aforementioned drama is key in the development of Blind Spots, and without it the film would find no footing and ultimately fail. There’s more to this film, but drama is the driving force behind the film and viewers feel sucked into the turmoil that exists on set. It’s no coincidence that there is intimacy present between viewer and film regarding a film about sex (and it’s intimacy coordinator). This adds to the drama, allows viewers to feel a stronger connection to the characters and the narrative, and ultimately plays a pivotal role in the overall reception of the film.

There’s a narrative that exists throughout, obviously–but Lara (Sarina Radomski) seems to have her own character arc in this short film. She’s representative of an emerging culture in the real world that focuses on the empowerment of women–and she embodies that sentiment with great enthusiasm. While everyone does a wonderful job throughout Blind Spots, it’s Radomski that is tasked with changing the tone and the mood throughout, and she is the primary reason–above everything else–that Blind Spots finds success. She’s full of life when necessary, and she finds herself beautifully reserved when the time is right. Lara’s juxtaposition of personality is brought to life by Radomski, and the film shines as a result.

I’ve been fortunate enough to see a lot of films at the 2022 Slamdance Film Festival, and this ranks right up there as one of the best. Blind Spots is dramatic, well acted, and completely full of life. The film resonates with viewers on a number of significant levels–emotional, cultural, personal, societal, etc., and the ability of Schubert to reach his viewers in a number of extraordinary ways is powerful and entertaining. Blind Spots is wonderfully enjoyable, and, again, one of the best that Slamdance 2022 has to offer.

Written & Directed by Luis Schubert.

Starring Julia Effertz, Leon Ullrich, Sarina Radomski, Lia Von Blarer, Etienne Bissuel, etc.

⭐⭐⭐⭐⭐⭐⭐⭐⭐/10