Categories: English Movie ReviewsMovie Reviews

Colourblind (2019) Review: A Curious Blend of Romance & Mystery!

Colourblind (2019) presents a curious blend of romance, mystery, and indie drama, written and directed by Nathan Hill. Known for his unapologetically low-budget, self-styled films, Hill once again wears multiple hats—writing, directing, and starring in a story that leans into the personal and the peculiar. This is not a high-concept thriller or a polished studio romance. Instead, it’s a passion project that draws from Hill’s own cinematic instincts, leaning on mood and theme rather than spectacle.

Colourblind follows Jaffy Rotunda (Nathan Hill), a down-on-his-luck private investigator reluctantly pulled into a job that proves more emotionally complicated than he expects. Hired by Trix (Anica Osmond) to follow her sister Sia (Anne Gauthier), who is suspected of suicidal tendencies, Jaffy begins his surveillance with cold detachment. But as he observes Sia, something changes. He becomes infatuated. Gradually, what began as a professional assignment shifts into an emotional obsession, which gets complicated. Adding a surreal twist, Jaffy is colourblind—but somehow, Sia appears to him in full colour, giving their bond an almost dreamlike significance.

One of the most effective elements of Colourblind is its cinematography. Compared to Hill’s previous films, this one feels visually elevated. John Flores’ camera work is noticeably more refined, lending the film a more cinematic feel. The use of a muted color palette cleverly mirrors Jaffy’s condition and inner bleakness, while the careful color grading adds a distinct personality to the film. The choice to shoot extensively outdoors enhances the scope, giving the movie a richer, more ambitious aesthetic than its budget might suggest.

Another aspect that makes Colourblind stand out within Nathan Hill’s filmography is its noticeable shift in tone. Compared to his previous action-heavy or high-stakes thrillers, this film feels more relaxed and introspective. The stakes here are personal rather than world-shattering—there’s no frantic chase or elaborate plot twist. Instead, we get a quietly unraveling story that blends small-scale mystery with a surprisingly gentle romantic thread. It’s a welcome change of pace that allows Hill to explore a different side of storytelling. As with his earlier work, the runtime sticks to a lean 1 hour and 20 minutes, a format he consistently adheres to. And honestly, that brevity works in the film’s favor—it never overstays its welcome.

Performance-wise, things are mostly solid. Nathan Hill delivers a subdued take on Jaffy, capturing the character’s emotional confusion without overplaying it. Anne Gauthier is the true standout here, managing to express Sia’s fragility, independence, and mystery all in equal measure. Her layered performance keeps the audience intrigued. But perhaps the most commanding presence comes from Jane Badler as Mrs. Baxter. She brings a kind of quiet power to the role, elevating her scenes with a sense of gravitas that lingers even after she exits the frame.

That said, the film isn’t without its flaws. The plot itself feels thin, and the way the screenplay unfolds lacks the emotional punch the story seems to be aiming for. The ending, while neat, doesn’t quite land with impact. On a technical level, the sound design is another issue. Sync sound inconsistencies and uneven audio levels are distracting at times, pulling viewers out of the experience.

All in all, Colourblind remains an intriguing detour in Nathan Hill’s career—a softer, more reflective film that leans into mood and feeling rather than explosive drama. It may not be perfect, but there’s enough sincerity and creative intent here to make it worth a watch, especially for fans of indie cinema with a personal touch.