Blind

Ingrid is blind. She lives with her husband Morten. As soon as he is out of the house, she sits at the window with a cup of tea listening to the radio or to the sounds that surround her. Ingrid’s fear of leaving the apartment grows. She suspects that her husband sometimes stays at home secretly in order to observe her. Or perhaps he chats online with a mistress whilst sitting next to her in bed, pretending to answer business mails. Einar has a penchant for internet porn and women with long hair but he’s too shy to approach anyone. Elin lives opposite him and has nobody to call her own except for her child, who spends most of the time with its father. Ingrid’s life is connected to the lives of Einar and Elin. They seem to share some of her fears and at one point even her blindness. Ingrid is aware of Einar’s and Elin’s sexual desires and Elin is familiar with Ingrid’s preferences. Or are these two just figments of Ingrid’s imagination? BLIND is an experiment: how important is sight for a visual medium? In his feature debut writer/director Eskil Vogt toys with illusion and reality, effortlessly pursuing plot conventions into the absurd.