Bokeh

A young American couple is on a romantic getaway in Iceland when the impossible happens: everyone in the world disappears, except for them. They wake up alone on the planet. Well, presumably, since they find no other survivors but also have no way to communicate with the world.

Riley (Matt O’Leary) seems to embrace their aloneness as a challenge, and sets about building primitive tools to keep the water running. He enjoys the freedom to shop MV5BNmI3MWU2N2UtNDJmOC00YjdiLTgzYmEtZmI1NzBiYTNmY2ViL2ltYWdlXkEyXkFqcGdeQXVyNTE0NzEyMzE@._V1_SY1000_SX1500_AL_without paying and help himself to cars without stealing but he’s a little reckless in his adventuring, which irks his girlfriend Jenai, who points out that should he get hurt, there’s no more 911 to call. And she’s right. But she’s also contorted with anxiety. Jenai (Maika Monroe) misses her family. She searches obsessively for other survivors. She seeks understanding, not just of what happened, but of its greater, spiritual meaning. Have they been chosen, or left behind? What is their purpose here? She and Riley drift apart over these issues, which is extra tragic since they don’t have many other options.

On paper (or technically, a computer screen) this movie sounds interesting. But oh no it is not. It’s the slowest, most boring, most plotless post-apocalypiptic movie you’ll ever see. There are only two things Bokeh is good for: 1. the terrific Islandic travel porn, and 2. torturing yourself with bleakness and existential defeatism. So yeah, if you’re researching beautiful places to kill yourself, definitely consider Iceland. But I’m guessing that wasn’t their intention in making this movie.

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