User reviews

Not your typical Filipino movie. The concept was great, using a dream-like state to narrate a story. It got a bit messy having to follow three story lines but met in the middle, could have been longer and would still watched it. I got confused by the "horror" tag as it did not seem that way at all, the scene where this is shown is also not horrifying at all. Passes as a suspense-thriller, nice build up, and a decent amount of erotica that isn't "just for the movie". Ms. Iza also played really well for this role and I was surprised by the new role she took, as well as with the nurse who made definitely left a mark. Overall, it ws a good movie, would watch again.

This movie is actually very good considering that this topic is not usually tackled in Filipino movies. It successfully made the viewers think and analyze what was really happening. But it's a 7 because within 20 minutes, the whole plot became too easy to predict. None of the assumptions I made at the start of the movie came out incorrect. Nevertheless, it is a very brilliant movie and worth a watch.

Bliss is a film that treats it audience with kid gloves when it shouldn't. Aside from my figuring out everything way earlier than the film clearly wanted me to (because of the way too obvious and loud clues), it explains itself once or twice more than it needed to, thus the finale felt flat, and a bit redundant. Iza Calzado was good as the lead, but Adrienne Vergara is the breakout here.

I've watched enough films that on the start of this film i already know the twist that they were planning.

Bliss is about Jane Ciego, a former child star who signed up to be a producer of a thriller movie that is intended for foreign film festivals such as the Cannes. Unfortunately, while the crew is shooting the film's climax, Ciego gets into a terrible accident, then waking up to find herself in a wheelchair, her husband tormenting her and a mysterious nurse who is not at all as she seems. As Ciego tries to solve the mystery, her vision of fantasy and reality is soon blurred, sending her into a deep predicament filled with misery and bliss.

From the opening sequence, the audience is thrust into a surrealistic and dreamlike sequence where Tarrog gives viewers glimpses of what goes on behind the curtain. Not everything is what it seems. There are switched identities. The movie lives in a veiled existence. In Bliss, there seems to be forces at work warping and influencing one's perception of time and reality. Tarrog explores the fallacies of the human memory and psyche, delivering plenty of ideas. It's like a puzzle piece waiting to be solved, though one does not know what it should look like. All the pieces are given, and it's up to the viewer to fix these pieces into a cohesive whole.

It's all hypnotic, the audience drawn along as if one thing leads to another—but nothing exactly leads anywhere. The non-linear narrative shows Tarrog's creative vision and craftsmanship both as a director and a storyteller. As identities start to switch, the characters fracture, recombining like flesh caught in a kaleidoscope. The mystery is still solved in the end, though, but it leaves the viewer with shock and awe. I won't consider it to be a plot twist, but the way everything was tied together at the end is so meticulously crafted, Tarrog combining all the mysterious glimpses into a whole that it is logical, but still fevered and nastily disturbing.

Also, for an indie film, this is cinematic perfection. It's almost impossible to deny its quality. The cinematography is wonderful, having a certain grittiness to it that one would expect from a psychological thriller such as this. The editing helps the film flow smoothly, enhancing its abstract cinematic voice and telling the viewer that nothing is at it seems, not even reality. Its commentary and the way the film wings out the horror from the mundane is exceedingly clever, bringing out the true terror in a story such as this. The film is also enhanced by the performances. Everyone is great, but I'd like to mention Adrienne Vergara, the nurse, who is a true revelation. Her acting brings out all sorts of menace, physical and sexual, and delivers it in a creepy way that has thick layers of extreme complexity.

Bliss is a magnificent movie that will mess with one's mind. It is very challenging, a mind- bending experience that works both effectively as a gripping mystery and always intrigues the viewer with its enticing story. Words, sounds, images, and performances all come together in this perfect slice of cinema. This may not be for everyone, as the core of the story is truly disturbing, and the R-18 given by the MTRCB feels justified. As a psychological thriller, this is groundbreaking, something I have never seen before in Filipino cinema. It is spectacular, and something that will stay on my mind for a long time.

Consider me pleasantly surprised.

I spent most of 'Bliss' entirely unsure of what to make of it. Usually it doesn't take long for me to begin to form an opinion; here I was flummoxed. Yet that seems to rather be the intent of the film-makers, as the very plot pointedly defies easy discernment. Is it a dream? A hallucination? A paranormal happening? A movie? An actual conspiracy? All of the above? The narrative is so consciously disordered that a fleeting moment relatively early on, suggesting the truth of the story, has to be taken with a grain of salt. Sequences inserted throughout, following characters other than the protagonist, seem wholly out of place and arbitrary. It's only within the very final stretch of the film that everything is made clear, and all the loose ends are tied together. And in so doing, I've been very much impressed. Despite every appearance to the contrary, this is a great, finely made film.

It's certainly not easily digestible. There's strong violence that includes sexual assault and abuse, and pervasive nudity; themes of deception, manipulation, exploitation, and psychological and emotional torment; and dialogue including instances of homophobia, and a long-running thread of sexism. More noteworthy still, the construction of the narrative employs editing that's sharp, fast, and jarring, and the purposeful obfuscation that keeps viewers guessing to some extent also makes it difficult to engage with the picture. I don't begrudge anyone who gives 'Bliss' an honest try and comes away disliking it.

Moreover, I have a tough time getting invested in stories that in any way play with the notion that the narrative isn't real. That said, this movie toys with that trope but ultimately goes its own way - I'm not sure when I last saw a film labeled as a "psychological thriller" that so fully embraced that concept. More than that, 'Bliss' is so jolting, impactful, and overall well done as to ameliorate what concerns I would otherwise have about the direction of its tale.

And looking past the hang-ups and complications, there's a lot to like about this movie. That the narrative is superficially so convoluted makes it challenging, but also rewarding. Set design and decoration in the dominant space is spartan, but only as befits the narrative; elsewhere, there's strong attention to detail. Hair, makeup, and effects are very carefully considered. Scenes are orchestrated well, and filmmaker Jerrold Terog arranges some especially fine shots, with swell use of lighting at times. The murky themes and prominent state of undress for some characters do not make this film exploitative itself; there's a sense of restraint to the camerawork in even the most lasciviously dubious scenes that keep the picture grounded.

Terog's screenplay feels somewhat rough around the edges, yet the narrative is solid as a whole: not acutely frightening or viscerally thrilling, but maintaining an ominous air of unease, and riveting. The characters he's written are a bit more hit or miss, as some seem a bit thin. Still, even when roles or performances initially fail to impress - as is true with the entire plot, that early notion belies an intention to how every aspect is built; I think especially of the part of Lilibeth, and actress Adrienne Vergara, both of whom come across as wooden until later on. Most significantly: The lead role of Jane Ciego broadly holds to a familiar horror characterization, with fear, terror, anger, confusion, disbelief, and uncertainty dominating the part. Yet within that conventional framework, there's just enough laxity for star Iza Calzado to demonstrate range, poise, and force of personality. It's a difficult balance, but she ably manages it.

I certainly won't sit here and say 'Bliss' is perfect, because it's not. There are some minor narrative inconsistencies that play at the edge of my mind, and the discrepancy in how characters are written is especially notable. While the overarching craft of the film is satisfying, it's also distinctly uneven in execution. Yet substantial labor went into letting 'Bliss' not just embody the "psychological thriller" genre, but to exemplify it. And there's much to be said for its success in this regard, however imperfect.

I entered with no special expectations, and was sufficiently perplexed by the build of the production that I couldn't pin down my feelings about it until the very end. But ultimately I'm truly pleased: this is very entertaining, and well worth watching. It may be a hard sell to general audiences with its atypical approach, or to any viewer that objects to strong violence, but otherwise I'd have no qualms in freely recommending 'Bliss.' Well done!