That title isn’t some typo or bit of Berlitz gibberish. “Bokeh,” it turns out, is a semi-obscure photography term that refers to the out-of-focus areas in a picture. Sadly, it’s also the most interesting element in Geoffrey Orthwein and Andrew Sullivan’s unimaginative and unconvincing apocalypytic drama. Matt O’Leary and Maika Monroe (who was so fantastic in the low-budget 2015 chiller It Follows) play Riley and Jenai, young lovers vacationing in Iceland. They check out the country’s majestic geysers and soak in its milky-colored thermal baths while Riley snaps endless photos on his antique Rolleiflex camera. Then one night Jenai gets out of bed, looks at the dancing northern lights out of their hotel-room window, and witnesses a strange, psychedelic burst of light. When they both wake up in the morning, the hotel is abandoned. So are the usually busy streets of Reykjavik. And everywhere else. There isn’t another soul, living or dead, to be found. Was there some sort of evacuation or plague? Could it have been the Rapture? And why are they the only ones to survive?
Whatever the source of the mystery, you’d expect these two to react in just about any other fashion than the complacent, almost-comatose one they choose. There’s a seed of an interesting, Twilight Zone premise here — what would you do if you were the last two people on earth? But Bokeh doesn’t seem to know what to do with it besides have its photogenic Adam-and-Eve leads take long nature walks, play board games, and upgrade their living conditions. At least, until its dramatically unearned denouement. It’s the end of the world as they know it, and these two seem to feel surprisingly fine. C