At first, Saul at Night appears to be a film exploring Saul's unorthodox work schedule and the way it disrupts his family life. Looking closer, the science-fiction feature film directed by Cory Santilli and written by Daniel Miska examines how our work lives, in general, strain our family ties. Saul at Night, at its core, is an existential film that revels in questioning the nature of work.
For viewers who struggle to balance work with their family lives, Saul at Night will spark discomfort. Santilli's film succeeds in reminding the audience to reevaluate the value they place on work versus close relationships. In the film, Saul (Kentucker Audley) struggles to be a loving husband while working a night shift -- from 10:00 pm to 6:00 AM -- which makes it impossible to speak to his wife and young daughter. In a world where everyone is conditioned to sleep at 10:00 pm, Saul, aka #00274, clocks in as a paid sleep experiment volunteer.
Saul at Night is not a heady sci-fi film. Miska's writing isn't looking to reveal a government conspiracy or even who is behind the strange digital questionnaire Saul answers each night within an isolated warehouse filled with nearby mannequins. Truthfully, its worldbuilding is minimal, and its setting is vague -- though it feels like somewhere in America's suburbia. Saul at Night doesn't comment on how widespread this sleep programming experiment goes or how long it's been implemented. Audience members expecting a sci-fi film hellbent on breaking down mind-control systems would do best to look elsewhere. The sci-fi elements solely function to create a world where Saul feels isolated by his choice to do this job.
On that note, it's unclear why Saul accepted this job. However, asking questions like these will only lead viewers down an unfulfilling path. Saul at Night works best when viewers accept the film for what it is: witnessing the experience of a lonely man, desperate for connection. Saul at Night's first act is incredibly somber as we watch Saul find ways to stay busy -- like dressing up mannequins to look like his family.
While the film excels in depicting a monotonous work schedule, some viewers might tire of its slow and desolate pace. However, that choice does feel integral to the film's design. Saul's strange errands depict how most tasks are, in fact, menial. Saul's sheepish role of living an unexamined life fills the viewers with more questions surrounding his purpose. Sadly, this puts Saul into an extremely unlikable role -- likely an avatar for any and all frustrations viewers have about why and how working fits into society.
While Audley maintains a compelling presence on-screen, the film thankfully gifts Saul with someone to play against in its following and final acts. Suzanne Clément portrays Amalur, a fellow volunteer with a family of her own that runs across Saul in their work's warehouse. Saul at Night truly shines when showcasing how these two extremely different individuals process the same isolated existence.
Cleverly, Amalur only speaks French, which lends the film plenty of memorable and striking moments. Watching the duo speak at cross purposes is heartbreaking, but also creates fascinating character studies. However, Clément steals the show quite frequently, and it can be hard not to wonder why the film wasn't set from her fiery and passionate perspective. Amalur loves to daydream about the ocean and tell stories about her sons. Saul's lackluster worldview pales in comparison.
All in all, Saul at Night is a film perfect to watch alongside someone else who is equally game to discuss its meaning and questions afterward. Santilli's work will inspire plenty of fascinating conversations around work, globalization and capitalism -- though be warned, it's not a film for those who can't stomach existential woe. But in the right light, Saul at Night might just push some viewers to make a little more time for human connection.
Saul at Night is streaming now on AppleTV, Amazon and Altavod.