The last night has just arrived on the Peruvian billboard. In this new bet, directed by Camille Griffin, Keira Knightley plays Nell, an affable mother of three who, along with her husband, invites her old college friends over for Christmas at a cozy country house.
As innocent as its starting point sounds, supported by the tranquility of its protagonists, everyone is aware that the end is a few hours away: a world crisis (in this case a storm of toxic gases) will end life in the planet.
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Despite the fact that this is a premise that has been explored and exploited countless times, most of the proposals of this type have aimed at melodrama with scientific touches, with anguish and a somber atmosphere marking the increasingly faster pace of the footage.
However, Silent night puts a twist on it and gives us a carefree, ‘comic’, but severe context: all the dinner participants, intoxicated by the joy and discomfort of an almost family gathering, have their suicide pills, subsidized by the British Government.
However, these ‘exits’ are not available to the homeless and illegal immigrants. Sounds familiar? It is because the concept of these pills, although it was not the director’s intention, could be a perfectly applicable analogy to the COVID-19 vaccination process.
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In contrast to Don’t Look Up, which boasts of its cast and delivers mediocre results, Silent Night is less pretentious, more entertaining, but makes mistakes similar to the film starring Leonardo DiCaprio and Jennifer Lawrence: it’s not funny at times. who thinks she is and feels overreacted in parts.
Within everything, social criticism is felt and its end adds an implicit question: Is there an escape or does the Government condemn us without thinking about it, without looking for more solutions?
In addition, it offers us different angles on the reaction to a catastrophe: we have a young pregnant woman who does not want to ‘kill’ her son with government pills, while we see a family with a newborn baby who decided to end his life, among other comparisons.
Although the first half of The Last Night feels bland, towards its final stretch it finds its way as a reflective story about what it means to be on the edge of the abyss, where some jump into the void and others hope not to die even when the sand under his feet wears out the hopes of a painless death.
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