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Salma Hayek as Isabel in a scene from the movie “Bliss”

Salma Hayek as Isabel in a scene from the movie

Salma Hayek as Isabel in a scene from the movie “Bliss”

Greg (Owen Wilson) is a typical office plankton. He is going through a hard divorce from his wife, has ceased to enjoy work and all his weekdays in the office (on weekends he hangs out in a cheap motel) spends drawing. The plots of his pictures are the same: a beautiful woman smoking in an expensive apartment, a sunny coast and other idyllic landscapes that he is destined to see only in dreams. Greg has long stopped answering calls and communicating with clients, so the boss is going to fire the negligent employee. But the hero, not expecting such news, jumps up right in the boss’s office and accidentally kills him. Hiding the corpse, he runs straight to the bar – to pour grief and create an alibi for himself – and there an unusual acquaintance awaits him. A certain Isabelle (Salma Hayek) claims that our world is not real, that this is one big illusion that we (that is, they, special people like Greg) can control the power of thought. With a wave of her hand, she exposes the death of the boss as suicide and invites the man to live with her.

“Bliss” is a kind of deconstruction of radiant sci-fi films about an imaginary land, about an escape from reality into a world of fiction and fantasy, which, as you know, is at first better than the surrounding dullness and cruelty. Mike Cahill, the author of the hit sci-fi “I am the beginning”, reveals his secrets right away: the pills that Isabelle offers to Greg (they say, only after using them, you can increase superpowers and turn cars into pieces of iron with just a desire), give out the subtext of the film … If we really exaggerate, then “Bliss” tells about drug addicts who, roaming the gray city, look at the bleak environment through the prism of a colorful trip. All their illusions – be it the ability to throw people aside or awakening in the real world of the future, reminiscent of leaving the matrix – for the viewer remain deliberately unrealistic.

But “Bliss” is not going to deceive the public. A couple of times the viewer may doubt the plausibility of the “fake” world around the characters, but Cahill still does not seem to pursue such a goal. His task is not to confuse, namely that to conduct an excursion into the traumatized altered consciousness, through the splendor of the world around them, to show the tragic situation of Greg, who abandons his family and loses himself with every new day. This is, in general, fantasy without fantasy, a hymn not to escapism, but to the ability to come face to face with reality. In times of self-isolation, this is not exactly the main thing, but one of the important things that help you to more easily experience your own desire for an intellectual escape from the oppressive pictures outside the window.

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