Reseñas de la crítica

With the lip-smacking relish that she brings to the body-horror elements of the picture, and the sickening, sinewy crunches in the sound design, Glass ranks alongside the French director of Titane, Julia Ducournau, as one of the most exciting film-makers working in genre cinema.

Love Lies Bleeding, a hard-knuckled, hard-boiled B-movie on steroids that comes on like a cross between the Coen brothers’ Blood Simple and Thelma & Louise... it’s Stewart who supplies the movie with electricity.

A smart, sexy neo-noir... [that] draws inspiration from Martin Scorsese and David Cronenberg, as well as lesbian pulp fiction... Love Lies Bleeding’s portrait of doomed, dangerous romance knows where it’s going: straight into the pantheon of New Queer Cinema.

Perhaps there’s a link to be drawn between the toxic side effects of Jackie’s expanding body, and the era’s capitalistic embrace of growth at all costs, but the film stops short of an actual critique. More successful is Glass’s visual depiction of Jackie’s increasing power, as well as her alarm... The film is at its most fun and original when it leans into surrealism.

Absurdist, gasp-inducing, melodramatic, and often intensely violent right through to the grisly, surrealist end, Love Lies Bleeding is entertaining enough without having to do all of the heavy-lifting.

Glass is a macabre fabulist, decorating her movie with dimly lit spaces, blood-red flashbacks, and the ominous call of a seemingly bottomless canyon... Not many artists are this brave when it comes to probing at our sexual desires, and what they reveal about us.

Uproarious, horribly violent and lethally smart... For a film as over-the-top as this, it might be counterintuitive to talk about subtlety, but Stewart is genuinely that... This could be a new grindhouse classic; in this world, love is bleeding but it’s not taking anything lying down.

Rose Glass has done it again. The 34-year-old English director who revitalised the psychological horror genre with her 2019 chiller Saint Maud has taken aim at the tired old Hollywood noir and literally shot it full of steroids in Love Lies Bleeding.

[The film's] girl-power messaging simmers throughout, yet Glass’s script (cowritten with Weronika Tofilska) never stoops to the kind of rah-rah feminism that whittles characters down to pat symbols. It relies purely on intuitive forces, on surreal style and physical performance, to communicate its tale of feminine rebellion.

There’s no question that this film is a bit messy, veering from noir to revenge thriller to body horror to pitch-black comedy via moments of magic realism. But there’s never a dull moment; Love Lies Bleeding pulses with an irresistible energy and potent eroticism.

Love Lies Bleeding wouldn’t work without the incredible performances at the heart of the story. Stewart and O'Brian's... chemistry is powerful enough to carry the film along its wild, twisty path... For those who can revel in the blood-soaked, complicated, sapphic delights that make up the backbone of the film, the saga of Lou and Jackie will be one for the ages.

The batshit fever dream that Kristen Stewart’s fans have been waiting for, Love Lies Bleeding also happens to be the best B-movie of the year... [Glass] once again infuses a hothouse atmosphere with wickedly unsparing insight – and just a touch more humour – to turn genre tropes inside out.