‘Blaze’ Review: A Pre-Teen MeToo Survivor Leans on Her Magic Dragon
’s “Blaze” reflects that, using a dazzling combination of digital and practical effects to represent the interior world of a survivor who has long relied on make-believe to cope with an overwhelming world.
Represented by a sparkly puppet with emerald green eyes, a stuffed-piñata head and herky-jerky wings, Blaze’s personal dragon looks like something that might ride atop a Mardi Gras float. Meanwhile, a curio cabinet in the corner of her bedroom houses a small army of ceramic figurines — kissing kangaroos and kitschy salt and pepper shakers — which also come to life for her on command.
How is a child supposed to make sense of what just happened? It’s upsetting even to adult eyes . Barton dedicates the rest of the film to this question, blending scenes of clumsily written reality — wherein she and co-writer Huna Amweero share statistics on femicide and such — with welcome interludes of sideshow escapism. Blaze has a way of retreating into her head, a carnival-like space where she can run free on the beach and scream the feelings she can’t put into words.
This is a #MeToo-era movie if ever there was, using the kind of cultural conversations the movement has made possible to explore the idea that violence perpetrated against one woman amounts to violence against all. At home, Blaze uses the internet to research Hannah, trying to construct a mental picture of the victim, who will soon feature in her hallucinations.
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