Blind

It's a fascinating exploration of the things that can thrive in the soil of a jealous mind, fertilized by suspicion and a lack of sight.

With heightened sounds and Petersen's assured performance, Blind evocatively depicts the small triumphs and frustrating defeats of Ingrid's daily existence.

Despite its heady eroticism, it maintains an almost clinical detachment that engages your mind without making your heart leap.

This is a haunting puzzle of a movie, one to pick at, to unpeel, to see a second time through eyes that have adjusted to it.

However you interpret it, Vogt's film lingers, haunting like imagery that refuses to fade away in memory.

These lonely, possibly imagined secondary characters are portrayed with the same depth of feeling as the married couple but are even more engrossing as psychological projections of the wife.

Riddling in cinema can have diminishing returns.

"It's the dance between the two - the heady ideas and the depth of feeling - that make "Blind" such a joy to watch, keeping it from being either an exercise in meta in pathos."

Joachim Trier's ("Oslo, August 31st") cowriter Eskil Vogt makes his directorial debut with a story that calls back to the structure of "Reprise" as if crossed with Jeremy Podeswa's "The Five Senses."

Blind is a sharp, pleasant surprise that delves into the psyche of a woman reconfiguring her entire way of comprehending the world around her.

Pettersen is absolutely riveting to watch on screen.

Unfortunately, the film's occasionally thrilling visual sleight-of-hand comes at the ultimate service of a boilerplate early-mid-life-crisis drama.