Eat the Night is a moving and dark portrayal of family, love, relationships, and connections. It might seem like these are all words to describe the same thing but directors Caroline Poggi and Jonathan Vine carefully intertwine what each of these could mean in various situations in a world where we switch between the real and virtual so seamlessly. Apolline (Lila Gueneau) and her brother Pablo (Théo Cholbi) are superfans of video game Darknoon, playing together somewhat daily and it is a defining part of their relationship and strength. There is a dependance on then playing the game – together if possible – which is threatened when suddenly the game developers announce that the game servers will be shutting down just before Christmas. What follows is a dark and cold portrayal of youth in France. 

Pablo is evidently the breadwinner for him and his sister as there appears to be no real parental figures around on the regular. He deals drugs across the city, entering into a rival gangs’ patch which is not met with compassion. It’s here that he meets Night (Erwan Kepoa Falé), a striking and sultry worker of the supermarket with whom there is clearly an instant connection. Pablo goes back to visit Night the following day and makes him a business proposition – he needs a partner. The chemistry between Pablo and Night is immediate thanks to the beautiful and subtle performances by both Cholbi and Falé. They play these characters with care and precision that makes them feel whole. However, as they start up their romantic and professional relationship, Pablo begins to neglect Apolline who is seen frustratingly playing Darknoon alone at home, watching the countdown tick closer and closer to the end. 

The film skillfully switches between the virtual game world and the very real setting of Le Havre. Darknoon feels mystical and beautiful whereas Le Havre feels desolate and cold. The visual differences between the two worlds is striking, Darknoon is full of colour whereas Le Havre is shown looking dark and grey. One world is welcoming, full of opportunity, potential, meaningless violence, and inappropriately timed dance moves, meanwhile the other is isolating, bland, dark, full of real threat and void of contentment. The game sequences are truly stunning, running through what feels like real gameplay with fantastical creatures and locations available to Apolline and Pablo to explore. I was surprised that the game didn’t feature more heavily in the film but it made the times when it did feel more impactful and stylistic – offering true escapism from the drug war Pablo and Night have found themselves in. 

Despite the desolate situations they find themselves in, the relationship between Pablo and Night flourishes – Poggi and Vine do not shy away from sex scenes by any means – but despite the large number of them they all feel specific and unique to the advancement of their relationship. They are passionate and steamy but tender and longing, showing desire and sexual appetite in an authentic way. These two people really need each other in order to survive and what I appreciate is this is not a queer love story about shame – this is just about love.

As the film progresses, so does the speed at which everything seems to fall apart. The war becomes more extreme and Apolline becomes more isolated. It is here where the film feels the least convincing, the drug war feels a little dull and performative and there are inclusions of characters that don’t really seem to go anywhere or serve any real purpose in the progression of the story. What I would have loved to have seen was more of the video game here but perhaps I too want to be able to escape. 

Despite any shortfalls, the main draw of this film is the performances from the three leads. Particularly Cholbi’s Pablo is the draw of every scene he is in, delivering this complex character with charm and passion makes it difficult to tear your eyes away. This film is ambitious and well executed. It shows us that it’s ok to grow up, move on, find love, even in a time when everything seems to be falling around us.