For over five decades, video games have become an integral part of our culture, arguably surpassing the influence of contemporary filmmaking. Regrettably, movies often misrepresent gaming as trivial joy buzzers instead of depicting how a game captures or commands attention. The thriller “Eat the Night,” directed by Caroline Poggi and Jonathan Vinel, steers clear of such simplifications. While the story revolves around a turf war among small-time drug dealers, this Cannes-premiered French film finds its deep emotions in the virtual world. It features extended gameplay sequences that portray a teenager’s struggle to escape her grim reality.
At the brink of maturity, Lila Gueneau, often referred to as Apolline, spends most of her time exploring the expansive digital universe of “Darknoon,” a world similar to “World of Warcraft.” With an oversized sword and comically revealing battle armor for her character, Apolline embarks on one mission after another, usually confined within the boundaries of her bedroom. Her older brother Pablo (Théo Cholbi) occasionally joins in the gameplay as well. When he’s away at work, he rides a flashy motorcycle to peddle MDMA for money. One day, Pablo brings on a young Black man named Night (Erwan Kepoa Falé) as a business partner. Not long after, a romantic relationship develops between the two.
In “Eat the Night,” an initial impression might be that it’s superficial. Falé and Cholbi hint at nuanced interactions between the characters, but the actors lack the intense chemistry to create a compelling, tragic romance; their first kiss feels abrupt and unexpected. As for Apolline and Pablo, their domestic situation is only suggested as gloomy, with Apolline’s grumpy father, connected to an oxygen tank in another room, serving more as a looming absence than a character. However, the constant reminder of “Darknoon” shutting down its servers after 20 years online adds a sense of impending doom, making Apolline’s world-ending crisis also weigh heavily on Pablo and Night’s lives.
Inside “Darknoon,” the events unfold with a depth that outshines the relentless revenge saga between Pablo and Night. There’s a reason behind this contrast, yet it doesn’t entirely conceal certain dull moments. The film regains its dramatic momentum as “Darknoon” becomes more crucial to the plot, with Night infiltrating the server during its final stages to deceive (unintentionally) an unsuspecting Apolline.
In a bold move aimed at capturing a more lifelike feel, the game “Eat the Night” will occasionally replace the in-game avatars’ faces with ones that are more expressive and realistic, mimicking the actors’ own features. This daring stylistic decision seems to be paying off. The blend of two distinct realities creates a unique visual landscape: one where subtle emotions can be clearly conveyed, not just for viewers, but for the characters as well.
Poggi and Vinel skillfully use the dramatic flair and paused mechanics of video games for more intense purposes. A bloody murder scene and quick respawning act as a release for anger and a quirky punchline. Additionally, a final scene featuring avatars screaming and searching for each other amidst other players adds a sense of grandeur to this small-scale struggle. To put it simply, would Apolline prefer solitude over participating in a crowd? Furthermore, could an independent production like “Eat the Night” afford hundreds of extras?
Poggi and Vinel creatively apply video game elements for intense themes. The violent murder and quick respawn serve as catharsis and humor. Moreover, the climactic scene with avatars yelling and searching for one another among other players adds a sense of grandeur to this small-scale story’s hardship. Essentially, would Apolline rather stay home instead of joining a crowd? Furthermore, could an indie production like “Eat the Night” afford many extras?
Though the main storyline intensifies with brutal intensity, Poggi and Vinel manage to infuse a tender touch (with electronic musician Ssaliva’s softening score playing a significant role). Their movie serves as a poignant plea for children left to fend for themselves – quite literally depicted through Apolline’s towering Alienware gaming laptop. Apolline describes “Darknoon” as having no clear goal other than self-improvement, so what happens when all self-improvement efforts disappear? Despite a slim plot, “Eat the Night” deserves its noir credentials for probing that darkness.
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2025-01-10 20:16