[REVIEW] Rewind: Bloodthirsty (2020)
In Bloodthirsty (2020) we see Grey, an indie songwriter, who is feeling overwhelmed and bored by fame. Tired of interviews and photoshoots, she is longing to tap into the creative streak she just can’t seem to access. It is also apparent that she is managing some disturbing psychological symptoms. She is contacted by Vaughn⸺a reclusive music producer⸺and travels to his remote home in the woods with her girlfriend, Charlie, to record a new album. Once there, Vaughn and Grey grow increasingly close, despite Charlie’s misgivings. Grey begins to change, in increasingly bloodthirsty ways. It soon becomes clear that Grey will have to make a choice between her humanity, and her art.
It is interesting to see the idea of the beast within explored through the lens of a sober, vegan woman. Grey has restricted her life to such an extent that she is the antithesis of the carnal, primal animal we associate with werewolf folklore. This restriction stems from a desire for control, and for order, over a side of herself she is not ready to face. In this regard, Bloodthirsty is a truly modern werewolf film. We see this bohemian gay couple, both artists living in a loft and ordering vegan takeout, who are ill equipped to deal with an ancient, primal force. This clash between old world folklore and modernity is interesting and could have been further explored.
When Vaughn isolates, and begins to control Grey, her behaviour quickly shifts. Charlie notices this most keenly, seeing how dark her music becomes and how different her attitude is. Grey’s visions of herself changing into a wolf, her desire for meat, for hunting, initially a source of shame begins to become a source of power, as she sees herself shift from prey to predator.
Perhaps the goal of this film was to present the werewolf narrative as a metaphor for the often-inherent narcissism of the artist. Vaughn encourages Grey to put her music first, above all else, and condemns her relationship as merely a distraction. Her dismissal of Charlie echoes this pompous grandiosity, as though only Vaughn, a creepy loner who she has only known for a few days, can understand her. The increasingly intense relationship between Grey and Vaughn is uncomfortable to watch, as the viewer is confronted by the ease with which Grey is moulded and manipulated. The shadow of Svengali-like producers, and Philip Spector, are evident in Vaughn’s character, and he exists as almost a caricature of coercive control.
The twist when it comes, is interesting, and there is the always welcome transformation sequence. The shadow of An American Werewolf in London (1981) looms large over this element of the story and is hinted at throughout the film. It is always good to see a film recognising its roots, and paying homage to the genre, but there is a lack of werewolf in Bloodthirsty. However, there is a grisly, visceral quality to the film, all dripping blood and ripping flesh, that reminds us of the essentially primal nature of the werewolf.
However, it is unfortunate that Charlie must be the sacrifice for Grey’s freedom, despite being a constant source of support and love throughout her struggles. There is an uncomfortable level of domestic violence, and gaslighting, between Vaughn, Grey, and Charlie that the filmmakers never explicitly condone or condemn. This vagueness feels worse somehow, as does the deliberately ambiguous ending. Overall, this is a perfectly passable werewolf movie, but it seems to take itself too seriously, whilst not taking the themes it deals with, trauma, abuse, and coercive control, seriously enough.
