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Subtly at first (an ever-present laptop perched on a windowsill), then more obviously, Vogt introduces the suggestion that Ingrid spends much of her time writing, creating a fictional narrative that allows her to see in her mind what she can no longer see with her eyes.At the center of Ingrid’s story is Elin (Vera Vitali), a single mother newly relocated to Oslo from Sweden, who becomes an object of affection for Einar (the wonderful Marius Kolbenstvedt), a shy shut-in whose appetite for Internet porn rivals matches or exceeds that of Joseph Gordon-Levitt’s character in last year’s “Don Jon” (complete with a similarly explicit onscreen montage), and who spies on Elin from his apartment across the street.In perhaps the film’s most extraordinary moment, she strips to the bone and presses herself against her panoramic picture window, unable to see, but desperate to be seen.
Stuck in the Indian tradition of arranged marriage, Leeza must decide between her familys wishes and her own while Danny battles with the prospect of seeing the world through the lens of a camera, synthetically connected to his brain.
And as Spike Jonze and Charlie Kaufman did in “Adaptation” (which “Blind” also echoes), Vogt finds ingeniously cinematic ways of visualizing a writer’s fickle temperament, with sets and locations — even the gender of one character — that change onscreen as they evolve in Ingrid’s mind.
Though ostensibly literary alter egos, or figments of Ingrid’s imagination, Elin and Einar come to resonate as deeply as any of the film’s living, breathing characters.
Full of temerity, Danny continually attempts to defy the stigma attached to his blindness, which bothers him so much that he goes to extraordinary lengths to dupe people into believing he can see.
He walks around the city without a cane or guide dog and continually bumps into things.
He risks bodily harm just to be normal and all he desires is for a girlfriend who can look past his blindness.