Saul (Kentucker Audley) can’t sleep. Due to a mandatory sleeping pattern which has gone global, it seems like he’s the only one. He seems to know that he’s the only one too and perhaps he has volunteered to give up his time so that his family or maybe even the world can sleep. That is until he meets Amalur (Suzanne Clément), a woman who also cannot sleep and unlike Saul, has decided to keep as far away from her family as she can.
Although with Saul it’s more of a case that he cannot accept reality, because he’s using mannequins to recreate his life with them even though he knows that they’re asleep. Hopeful that he can finally share his thoughts and feelings, Saul talks to Amalur, but the problem is that she can only speak French and doesn’t understand English and it’s the reverse for Saul.
Regardless, Saul and Amalur only have each other while the world sleeps, so they do the best they can to get to know each other.
Saul at Night is a drama with a science fiction type setting in the background. That element where the world sleeps though is never truly explained which leaves a lot of the film up to interpretation. So much so in fact, that Cory Santilli’s feature debut may start to resonate with many audiences who may feel that they’ve had a shared experience.
Saul feels like he’s alone, it feels like the entire world has come to a standstill and his family are all doing the same thing because the government have told them that there’s nothing they can do. Surely there’s something in there that we can all recognise.
The funny thing is though, that audiences may be surprised to learn that Saul at Night initially came out in 2019 which suggests that the filmmakers knew something that we didn’t. Of course, this is just one interpretation.
The best thing to do with Saul at Night is to find something while reading between the lines, because that’s half the fun. However, there’s still a question of whether the film goes from interpretation to pretention in its final scene.
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