There are a few, very few dialogues in ‘The night is devouring the world’, as its protagonist, Sam (Anders Danielsen Lie -‘Oslo, August 31’, ‘Personal Shopper’-) passes without company most of the footage: is encased in a block of flats after an apocalypse of unknown origin that leaves the streets of Paris full of zombies (or infected, because here the monsters have traits of both subgroups), as idiots as they are deadly.
almost casually manages to hold on to one of these creatures in an elevator stuck (the great discovery of the film, the always extraordinary Denis Lavant, whom we remember of ‘Holy Motors’, and other films of Leos Carax) and engages in chat with no response with the creature. In one of these rants you espeta “The death is normal now. It is I who is not normal“.
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it Is inevitable to remember at that point in the conversation, the low point, the lack of its subtlety, of the comic ‘The Walking Dead’ (which had its corresponding translation to the series in the fifth season): when Rick brama, after thirty numbers, “We are the dead”. the As if it was not quite clear, Rick, that practically any fiction of zombies actually speaks about us: the organization of society into strata in ‘The day of the dead’, of our vices consumerist ‘Zombie’ or how violence permeates our lives in ’28 days later’.
A little in this line of metaphor of brush gorda anda ‘The night devours the world’, which it shares with ‘The Walking Dead’ to their claim to tell a human story with zombies (very) to the fund. the Also baby of the classic Richard Matheson ‘I Am legend’ and its adaptations, as well as works post-apocalyptic arising (of recent ‘¿are We alone?’ the series ‘The last man on Earth’), in his portrait of the routine and desolate world. In this case, and to resist the siege, our protagonist goes for organizing food or improvising orchestras of toy to do running the halls of the building.
‘The night devours the world’: the importance of the human
that Is to say, the film’s debutant Dominique Rocher (based on a novel Pit Agarmen) share this essence is metaphorical of almost all films zombie, reflecting here about solitude and its consequences. With dyes almost kafkianos in his portrait of the banality of everyday, we are going to see how Sam is leaving to spend days without virtually doing anything noteworthy. Rocher you’re not even allowed to put it to watch television or listen to the radio in search of answers for what has happened: Sam assimilates from very early the new situation and gets carried away by the molicie more absolute, in a stretch of film that, despite what it may seem, it is more intriguing that monotonous.
The problem is that, as you go through the almost minimalist argument (only interrupted by some surprise as the appearance of another human), it is evident to what extent the Sam character has no motivations. It is in the building because you decide to stay, but doesn’t have too many interests, nothing that we ate there, is not used the isolation and the everyday details of survival -as do films of the subgenre post-apocalyptic of the most varied, from ‘The night of the comet’ to ‘A quiet place – to define a personality. And this prevents the viewer empathize with their attitude to what for any normal person it would be a tragedy.
it Is possible that this sort of blank canvas that is the personality of Sam is conscious part of the proposal Rocher, that you want to symbolize at what point in a situation like this frivoliza the tragedy and we become a kind of spectra without motivation. It is possible, but what reaches the spectator is a certain laziness of the concept, despite plenty of brilliant moments in the mise en scene: the picture of Jordane Chouzenoux gives true spectral pitch to the interiors and looks cold and desolate in that Paris desert. Abound the solutions of mounting modest but very effective and the part related to the unexpected visitor, Sam (Golshifteh Farahani) is great.
The pace peaceful, almost sedentary of the film and its abundant findings visual justify a production that is not called to revolutionize film post-apocalyptic, but that puts their grain of sand, thanks to the great performances, and its firm decision not to show more than what is necessary to the zombies (a horde silent built, incidentally, with extraordinary make-up effects). For addicted to the variant infectious of the end of the world, which, however, should continue searching for a dose to calm the addiction.
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the.news ‘The night devours the world’: a parable to post-apocalyptic at times brilliant, but something buried originally.published.in by John Tones .