Bad Influence Review: Erotic Tension Meets Silent Threats

Bad Influence opens on a stark contrast: Eros (Alberto Olmo), freshly released from prison, is swept into the gleaming world of Bruce (Enrique Arce), who promptly installs him as guardian for his high‑school daughter, Reese (Eléa Rochera). Their first encounter—Eros stepping from a Porsche into a mansion that feels more gallery than home—sets a tone of sterile wealth tinged with unspoken threat. As Eros shadows Reese through dance studios, late‑night study sessions and poolside laps, director Chloé Wallace cultivates a slow‑burn tension that flirts with both romance and suspense.

The film’s design leans into this duality: elongated takes emphasize the vastness of Bruce’s estate, while muted color schemes underscore Reese’s isolation despite her privileged upbringing. Sound design alternates between hushed domestic ambience and pulsing electronic beats during moments of rebellion, suggesting the divide between Eros’s gritty past and Reese’s sheltered present.

At its core, Bad Influence hinges on a forbidden attraction that crosses rigid class lines—and on a mystery stalker whose cryptic messages punctuate their growing intimacy. Unanswered questions about Bruce’s motives and Peyton’s shifting allegiances deepen the intrigue.

Throughout this review, I’ll examine how Wallace reconfigures classic bodyguard‑romance tropes, how narrative pacing both serves and stalls the plot, and how technical choices—camera movement, editing rhythms, soundscapes—reinforce the film’s commentary on privilege, secrecy and desire.

Plot and Narrative Structure: Secrets in Motion

Bad Influence opens on a sharp contrast: Eros (Alberto Olmo) emerging from prison into Bruce’s (Enrique Arce) lavish world. We meet Bruce as both benefactor and shadowy patriarch—his Porsche and empty halls hinting at power that isn’t entirely benevolent. Reese (Eléa Rochera) appears next in a ballet studio, her disciplined movements underscoring isolation beneath elite privilege. These opening scenes establish the class gap that fuels the film’s tension.

The first threatening text—“Sometimes you have to pay for other people’s mistakes”—arrives with minimal fanfare, yet it shifts Reese’s routine. Eros steps into her life as an unacknowledged protector, trailing her through school corridors, dance rehearsals and moonlit pool dips. It’s a quietly compelling invitation to question whose safety really matters.

As stolen glances morph into charged moments by the water’s edge, chemistry builds organically. Wallace stages their attraction against the rigid backdrop of Reese’s friends, whose whispered jeers highlight the social divide. Peyton’s arrival—an almost indie‑film twist—injects uncertainty. I found myself recalling Guillermo del Toro’s knack for inserting unpredictable characters into genre setups.

The narrative threads twist around potential culprits: Reese’s scorned ex, Bruce himself, and Peyton’s shifting loyalty. A broken window and a macabre package hang in the background, unresolved until late in the script. Clues surface in brief flashes rather than neat expositional scenes, echoing the storytelling strategies of modern indie thrillers more than glossy studio fare.

Without spoiling the reveal, the film pivots on a confrontation that fuses emotion and motive. Eros and Reese must decide whether their bond can survive class pressures and real danger. The final beats leave their relationship’s fate open to interpretation, a daring choice for a title that could have opted for tidy closure.

Wallace’s decision to drip out revelations mirrors the slow‑burn romance, but at times suspense stalls in favor of prolonged silences. Editing choices—long holds on characters’ faces—echo art‑house sensibilities, even if they occasionally undercut narrative momentum. This blend of measured thrills and emotional payoff makes Bad Influence feel both familiar and slightly off‑beat.

Characterization & Performances: Faces in Friction

At first glance, Olmo channels a smoldering intensity reminiscent of Ryan Gosling’s silent magnetism in Drive. His motivation—survival and loyalty to those who raised him—unfolds gradually, as does his unexpected protectiveness toward Reese. In early scenes, a single lingering shot on Olmo’s eyes carries more subtext than pages of dialogue. By the midpoint, we see him shift from a guarded ex‑con to someone capable of vulnerability, though a few moments feel underwritten. Like many indie leads, he thrives when the camera gives him space to simply exist.

Rochera balances disciplined elegance (her ballet training shines in tight, graceful framing) with the restless energy of a teenager craving authenticity. Her arc—transforming from insulated socialite into a risk‑taking ally—resonates because she brings warmth to otherwise cool luxury settings. Occasionally, emotional beats waver in intensity, but I was reminded of Saoirse Ronan’s early work in The Host, where rawness outweighed polish.

Arce’s Bruce hovers between mentor and manipulator. His clipped delivery and controlled posture suggest hidden debts and darker designs. There’s a subdued menace in his eyes, but the script limits his range. Given Arce’s performance in Money Heist, I wished for more moments where he could wield that trademark charisma and moral ambiguity.

Balić steals scenes with an effortless charisma. From flirtatious confidante to potential saboteur, her presence crackles—she’s the unpredictable variable that keeps us guessing. In one hallway exchange, her tilted smile is more compelling than any exposition.

Lily and Diego form the narrative bridge between Eros’s world and Reese’s circle, illustrating class tensions in whispered asides and spontaneous dares. Even the ex‑boyfriend’s brief appearances register as believable obstacles. Across classroom banter and late‑night rebellions, the ensemble’s chemistry grounds the central romance in a social reality that feels both cinematic and familiar.

Themes & Subtext: Power, Isolation, and Identity

From the moment Eros and Reese’s eyes meet, their relationship carries the weight of forbidden love and a stark class divide. He’s an outsider shaped by foster homes and a penal system; she’s cocooned in privilege and polished routines. Their chemistry gains intensity because it feels like a breach of invisible walls—the film highlights how wealth can create both safety and suffocation. I grew up watching stories like Moonlight, where social barriers become characters in their own right, and Bad Influence taps into that same tension between belonging and otherness.

Surveillance and isolation pulse through every frame. Eros’s role as silent watcher carries echoes of our social‑media era, when a single message can feel like intrusion or protection. The stalker’s cryptic texts hover in empty rooms, turning the mansion into a pressure cooker of fear and dependency. I’m reminded of scenes in Gone Girl, where a broken home becomes a cage as much as a refuge.

Redemption and identity collide in Eros’s journey. He seeks to prove that his past mistakes don’t define him—an arc familiar from indie dramas like Manchester by the Sea. Yet Bruce’s cash‑forgiveness deal raises a question: can wealth truly erase guilt, or does it simply conceal secrets? That ambiguity gives the story its emotional charge.

Youthful agency emerges through acts of rebellion—spray‑painted walls and secret ballet routines. Reese’s disciplined dance becomes a metaphor for control, while her late‑night escapes speak to a generation hungry for self‑expression. As someone who once sneaked into underground shows to feel alive, I appreciated how these scenes reclaim autonomy.

The mystery at the film’s center mirrors emotional blind spots. Peyton’s unreadable motives and sudden loyalties keep us guessing, much like the best noir twists. At the same time, the erotic tension asks who holds the gaze and who wields power. Under Reese’s father’s watchful eye, their romance tests the limits of consent and control in a way that feels both provocative and personal.

Technical & Aesthetic Craft: Crafting Suspense and Style

Director Chloé Wallace demonstrates a keen sense of balance, guiding Bad Influence between tender romance and simmering thriller. In quieter moments—Reese practicing pirouettes in an empty studio—the camera lingers just long enough to feel voyeuristic, then pulls back to underscore her solitude. When tension spikes, Wallace speeds up coverage, echoing Tarantino’s knack for sudden shifts in tempo without tipping into chaos.

The cinematography leans into oppositions: interiors are shot in cool, desaturated hues that make the mansion feel more gallery than home, while the poolside and nighttime cityscapes glow with warmer tones, recalling Sofia Coppola’s dreamy palettes in Marie Antoinette. Close‑ups on Olmo and Rochera capture micro‑expressions—an almost imperceptible quiver of the lip or a half‑turned gaze—while wide shots emphasize class divides, framing them as tiny figures adrift in opulent spaces.

Production design and costuming reinforce these divides. The mansion’s sleek minimalism contrasts with graffiti‑scrawled alleyways where Eros and friends gather. Reese’s tailored ensembles—soft pastels and ballet‑inspired fabrics—feel like armor, whereas Eros’s worn leather jacket and faded jeans speak of a world built on grit. It’s reminiscent of the visual storytelling in Moonlight, where wardrobe silently communicates social strata.

Editing choices sometimes stretch scenes beyond their narrative weight, but during the pool sequences, rhythmic cross‑cuts mirror the hypnotic ebb of water, creating a trance‑like urgency. Sexual scenes are framed with restraint; fleeting shadows and rippling reflections do more to suggest desire than explicit imagery ever could.

The score weaves electronic motifs with muted piano, heightening each beat of attraction or alarm. Silence is used as a weapon—sudden quiet before a text arrives packs more punch than any stinger chord. In dance sequences, the sound of pointe shoes on wood becomes its own percussion, turning Reese’s ballet into a metaphorical call for freedom. Even the spray‑paint hiss in vandalism scenes feels musical, a youthful rebellion set to its own raw rhythm.

Blurring Boundaries: Tone, Style & Genre Positioning

Bad Influence threads romantic tension through a mystery scaffold. Sweeping poolside glances give way to cryptic messages, and the film rarely lets the love story or the whodunit dominate outright. It reminded me of discovering A Simple Plan in my twenties—when a heartfelt bond and a creeping threat pulse at equal volume.

Wallace leans into deliberate pacing. Early scenes simmer like a slow‑pour espresso, then ramp up during moments of whispered danger. A handful of sequences stretch longer than their suspense warrants, yet they build a sticky anticipation that rewards patience.

The cinematography carries a perfume‑ad polish: glossy surfaces, sweeping reflections, bodies half‑lit against glass walls. Still, those visuals quietly carry weight, echoing societal divides through frame composition. Reese’s ballet rehearsals feel both graceful and fenced in, translating her emotional state into movement.

Netflix’s recent run of YA romance adaptations carries built‑in buzz—and built‑in expectations. Bad Influence arrives amid the Wattpad‑to‑screen wave, where viral source material can be both blessing and burden. This film leans into familiar beats while injecting a rawness borrowed from smaller indie thrillers.

Class commentary and a guardian‑charge angle offer fresh sparks, yet the story leans on well‑worn tropes. It feels like a bridge between indie ambition—its willingness to hold scenes in hush—and mainstream storytelling that prizes glossy hooks.

Final Assessment

All told, Bad Influence shines brightest when its leads occupy the frame—Olmo and Rochera generate a spark that drives every stolen glance and whispered confession. The film’s visuals—the contrast of sterile wealth and warm, shadowy poolside scenes—linger long after the credits. Moments of genuine tension, especially in silent exchanges and sudden silences, remind us why slow‑burn storytelling still has power.

That said, the pacing sometimes stalls, with mystery threads left dangling longer than they need to. A handful of plot threads feel underdeveloped, and a few scenes dip into clichéd dialogue that flattens otherwise rich atmosphere.

When the credits roll, the film succeeds as a mood piece—an exploration of class friction wrapped in a forbidden romance—more than as a tightly plotted thriller. Viewers seeking a stylish, character‑driven evening stream will find plenty to enjoy. For those craving relentless suspense or narrative precision, this may be best reserved for relaxed weekend viewing rather than a must‑see event.

Full Credits

Director: Chloé Wallace

Writers: Chloé Wallace, Diana Muro

Producers: Kiko Martínez, Juan Mayne, Aron Levitz, David Madden, Alberto Muffelmann, Begoña Robles

Executive Producer: Teresa Pan Bajo

Cast: Alberto Olmo, Eléa Rochera, Enrique Arce, Mirela Balić, Farid Bechara, Sara Ariño, Fer Fraga, Mar Isern, Selam Ortega, Clara Chaín, María José Mariscal, Arnaud Préchac

Director of Photography: Beatriz Sastre

Editor: Mario Maroto

Composer: Pedro Merchán Correas