Well-acted and well-crafted, “Bloody Marie” represents a promising directorial bow for the Dutch team of Guido van Driel and veteran cinematographer Lennert Hillege (also doing DP duties here). But…
. But their accomplished handling goes only so far to cohere a somewhat awkward story concept that’s primarily a semi-repellent character study before abruptly lurching into thriller terrain. Neither of those elements feels fully realized, and the film ends with its precise point still murky at best.
Last seen by most as the firmly capable solo sailor of “Styx,” German star Wolff is first glimpsed here in a state of ecstatic abandon, dancing under disco lights. It’s only after a while that we realize she’s dancing alone in the rear of a near-empty saloon, already drunk in the middle of the day.
These days, Marie does little but drink, to the dismay of her long-suffering dog Lieze, and to the point where some local bartenders and liquor store owners discourage her patronage. That should provide a wake-up call, but Marie simply doesn’t care. Self-destruction seems a sufficiently entertaining life occupation for her, even if she’s now running short on cash.
When a now-sober, regretful Marie tries to intervene at the 50-minute mark, the movie suddenly becomes “bloody” indeed, introducing a villain worse than Dragomir in boss figure Jos , plus other elements of peril and action. But this sudden shift from woozy character study into thriller terrain feels incompletely thought through. And while the film finds something of a grace note to end on, even that falls short of any proper narrative resolution.
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