Slamdance Film Festival 2024 Review – Virgil Bliss (Clint Jordan) has been on the run for over 20 years. Still, he attempts to live the semblance of a normal life. He spends laying low, his days away working at a local horse stable while occasionally scoring oxy from a co-worker. As BLISS opens Virgil is grabbing a dose for himself and his addicted girlfriend Amy (Faryl Amadeus). After the two party, a little too hard Amy passes and Virgil has no choice but to hide the body. Then things get complicated. Written and directed by Joe Maggio and co-written with his two leads, BLISS wanders through the drama of the situation in a natural way leaving us with characters that stay in our minds long after the story ends.

You see, after Virgil panics and buries his dead girlfriend in the desert, her ultra-religious sister comes looking for her to settle a family matter. Initially, Virgil makes the common excuses about Amy’s absence; oh she’s at work. Maybe she went out with friends. Yet Amy’s sis is determined not to leave without speaking to her sibling. The clock ticks and the excuses become less believable. Hours become days and it is apparent that Amy’s sister is no religious simpleton, but a woman on a mission.

What I found the most enjoyable about BLISS was the natural and unpredictable way the story unfolded which was written by its actors and director. This has a fascinating effect as it places character development and evolution of the scene over the actual narrative giving the film a distinct life. In short, Linklater would be proud.

BLISS is the second in a planned trilogy focusing on Virgil’s journey through life and I admit these characters are fascinating. Jordan brings major Bryan Cranston energy with his weathered portrayal of Virgil. The man is a broken soul attempting to exist while struggling with addiction, a flawed justice system, and a family he hasn’t seen in years. Matching Jordan’s talent is Amadeus who plays both drugged-up Amy and her rigid, calculating zealot sister. It’s not a spoiler that the character Amy dies at the top of the film, but I was deeply disappointed as the character was so fascinating. To her credit, Amadeus brings the same level of development to what could have been a one-note character.

My one note would be that for as much time as the film spent feeling so honest, the conclusion feels rote. Almost as if the trio of artists yearned to find a resolution one way or another. That said, praise must still be given to Maggio who is brave enough to create something that sort of just takes on a life of its own. This is organic cinema with a focus on the humanity of the characters rather than winning the audience over with tried and true cinematic tropes.

7 Out of 10