Glass speaks to Naomi Ackie, the British star of Blink Twice, a film that redefines the thriller genre from a woman’s point of view
From Summer Issue 58
Some stories demand to be told. Others have been shared, yet they fall on deaf ears. Zoë Kravitz’s directorial debut, Blink Twice, is set to command attention. This is precisely what Naomi Ackie also intended to achieve when she took on the project.
When Ackie steps into a role, she transforms the ordinary into the extraordinary. Her latest venture in the high-stakes world of Hollywood is no exception. Starring alongside Channing Tatum, she plays Frida, a cocktail waitress whose life takes a surreal turn when she captures the eye of tech billionaire Slater King at his opulent fundraising gala.
Photographer: Rosaline Shahnavaz
An invitation to his private island promises a dream vacation – a paradise where wild nights seamlessly merge into sun-soaked days and laughter seems endless. Yet, as the idyllic days unfold, Frida senses an unsettling undercurrent. Strange occurrences hint at a darker reality beneath the surface of this luxurious escape. In this gripping narrative, Ackie’s character must unravel the island’s secrets to survive.
Photographer: Rosaline Shahnavaz
Ackie’s rise to fame has been nothing short of meteoric. With a background in theatre and a breakout role in Star Wars: The Rise of Skywalker, she swiftly established herself as a talent to watch. Her performances in critically acclaimed films like Lady Macbeth and the TV series The End of the F***ing World have showcased her range and depth, earning her accolades and a dedicated following. As she continues to take on diverse and challenging roles, Ackie proves time and again that she is on the cusp of becoming a formidable force in the entertainment industry.
Photographer: Rosaline Shahnavaz
Her latest role is set to propel her to new heights. She’s now tackling a character that navigates the powerplays of wealthy men who exploit vulnerable women, all while dismantling the falsehood that women are powerless in these situations.
“There’s a halo effect around people with money, influence and power, making you feel safe because they are powerful, and you can have a touch of whatever they have,” the 32-year-old actor begins.
Photographer: Rosaline Shahnavaz
She’s currently packing for a trip to Mexico, an unfortunate time to be drawn out of holiday mode into a lengthy discussion about the patriarchy. But ultimately, the damage is done by good people who stay silent, not by bad people who do harm. When it comes to Blink Twice, the topic of women’s safety is crucial and pivotal to the storyline.
What were Ackie’s thoughts when first approached by her agents with the project? After all, she took on the role of a woman who shows vulnerability and then has to fight for her life. “Well, I think the first thing I remember was my agents coming to me and saying, ‘Zoe Kravitz wants to talk to you about a film called Pussy Island’. And I was like, ‘Pussy what?’,” she laughs. “I thought, well, it looks like I’m doing a film called Pussy Island, and she had me by the title. I know the title has changed now because it’s like the end of the world to say ‘pussy’ in public.”
Photographer: Rosaline Shahnavaz
Blink Twice doesn’t shy away from examining the dangerous allure of power and the often misplaced blame on victims. It’s the vision behind the storyline. “We see this happening a lot,” Ackie nods in agreement.
“There’s a constant conversation around power and people’s attraction to it, and how power can be taken advantage of. From the outside, you might think, ‘of course, you don’t go to a private island with someone you don’t know’. Unfortunately, the conversation often blames the victim – it’s your fault for going, so whatever happens to you is on you.”
Society teaches women to feel guilt for trusting, shame for not knowing better and powerlessness when trying to speak out, while absolving perpetrators of all accountability. “There’s something to be said about being aware of your surroundings and knowing that you are vulnerable in certain situations. There’s an excessive focus on what we have to do to protect ourselves instead of what perpetrators have to do to, maybe just not fucking do it,” Ackie echoes.
Photographer: Rosaline Shahnavaz
In Blink Twice, the climax is gripping and flips the powerplay on its head. Women do take control of the island. “Then, all the women take very justified revenge on these men. Some horrific things have been happening that they weren’t fully aware of, and it’s about how these women try to get off this island,” the actor continues.
Ultimately, Kravitz’s vision was pivotal in redefining the thriller genre. As Ackie says, she’s had a vision for the movie for ages. “She’s very specific and has thought about this idea for years. So when it came time to make it, she was really clear on what she wanted to say. The film has many different facets. Once you see it, you’ll notice the care and joy she has taken in piecing this story together and creating a real experience.”
Photographer: Rosaline Shahnavaz
The film also tackles the motivations behind harmful actions. Why would anyone want to take advantage of women? Why are we hurting one another? Is it power? Is it ego? Or is it purely a personal agenda depending on the individual? “We have to be flexible around the fact that there are people in the world who just want to hurt others for their sick reasons,” Ackie notes.
“Without understanding where that comes from and why it exists, it’s like putting a plaster over a really big wound. It doesn’t fix the issue.” The actor hits the nail on the head with her last line. Understanding is a plaster; fixing it entails going to the root of the issue. But seeing these scenarios develop more frequently on screen does help with spreading awareness.
Blink Twice aims to shift the perspective, placing viewers in the shoes of vulnerable individuals and illustrating their journeys through harrowing experiences. “This film tries to approach it from that end, putting people into the place of being that young person who doesn’t realise they can be taken advantage of in that way and watching them go through that journey,” Ackie explains.
The tone of the film masterfully blends horror with a sharp, irreverent edge. Ackie describes this unique balance, saying, “The tone is very interesting. Zoe has come up with this tone that is both harrowing and quiet. Irreverent is the right word. It’s very dark humour. There are moments where you’re like, ‘Oh my God, hasn’t every woman been in this situation?’”
Photographer: Rosaline Shahnavaz
Reflecting on personal and collective experiences, Ackie highlights the film’s relatability. “Maybe not this specific situation, but a situation where you’re like, ‘I should not have come here’ or ‘I don’t feel safe’. When you look back, there were many moments with red flags but you were taken by the moment. All those distractions can blind you to the red flags.”
Only through collective awareness and a willingness to change narratives for women worldwide can we actively achieve change. Both Kravitz and Ackie are paving a new path for women on the silver screen. Sometimes, you need horror before you find peace.
by Adina ilie
Photographer: Rosaline Shahnavaz
Senior Fashion Editor: Lily Rimmer
Hair: Lauraine Bailey using THIS HAIR OF MINE and DYSON HAIR PRO
Makeup: Lucy Wearing using NARS COSMETICS
Manicurist: Jada Elize using CHANEL Le Vernis in Rouge Noir and CHANEL Le Lift Hand cream
Movement director: Liam John
Photography assistant: Henry Hewitt
Styling assistant: Sabrina Raso
Photography intern: Yasemin Özdemir
Talent: Naomi Ackie
Special thanks to Thomas Conant and Joanna Goodman for props
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