The starting point of this heterodox entry into the corpus of the cinema with zombies proposes an ingenious rhyme: the protagonist, Sam, arrives at the floor of his former sentimental partner to recover some cassettes left behind after the break. A bustling party is being held on the floor and he is invited to wait in an isolated room, where he will end up falling prey to sleep. Upon waking up, the next morning, the apartment has become a kind of landscape after the battle: a zombie crisis has broken out and, looking at the panorama from the windows and the peephole of the main door, Sam decides to dig into the place … and survive. The debutante Dominique Rocher not only proposes a more or less easy equivalence between a party and a zombie plague there, but also slides an idea that will be decisive when it comes to constructing the discourse of Night devours the world: the type of individual with the most training to survive and acclimatize to a zombie apocalypse … is the asocial with deficit of empathy that, in the most lively of the holidays, he would prefer to lock himself in a room.
NIGHT DEVORA THE WORLD
Address: Dominique Rocher.
Interpreters: Anders Danielsen Lie, Denis Lavant, Golshifteh Farahani, Sigrid Bouaziz.
Gender: terror. France, 2018
Duration: 93 minutes
Based on the homonymous novel by Martin Page, author of How I became a stupid (Tusquets), Rocher's debut film tries to avoid the common places of the subgenre, without finishing articulating a look so sharply artie like the French-Canadian Robin Aubert in The hungry (2017). At times, the film resembles a Parisian rewrite of I'm legend, of Richard Matheson, although, in this agoraphobic odyssey, what prevails is acclimatization and survival rather than the extermination of otherness. Rocher's proposal does not maintain its strength at all times, but manages to apply a new look on this reiterated imagery.