Early in Bliss, as an eerie atmosphere encroaches on Jane Ciego’s (Iza Calzado) world, the camera directs its gaze on a few circular objects and establishes a visual motif. A compact smoke detector hangs from a blank ceiling. The froth on a cup of coffee gathers into a disc. A desk model of an atom spins silently in perpetual motion. Bothered by distant noises in the house, the wheelchair-bound Jane roams the empty rooms; a high, circular window emits a strange glow, framing her head like a halo; she is like a saint, venerated, but trapped in limbo.
Review: ‘Bliss’ (Jerrold Tarog, 2017)
‘Bliss’ cuts deep, but the victim is numb.
Reverse Delay 