Reel Review: Saturn Bowling (2023)

With superb acting and an intriguing story, “Saturn Bowling” is an engrossing film that will keep your eyes glued to the screen throughout.

The French film Saturn Bowling, newly released by Darkstar Studios, starts slow initially. As the film picks up momentum, the pace increases until you have a frenzied, almost uncontrolled climax. It results in a powerful experience that will stay with you for a long time.

The story follows the exploits of a man in Northern France at the beginning of the film, walking down a lonely street at night, eating. A man pulls up next to him in a car to inform him that his father had died that morning and that the funeral would be the following day.

The dialog belies an underlying tension between the two men. They are both very different people; it is apparent from their meetings that both sides have a certain amount of distrust and dislike toward each other.

As the story advances, we learn that the disinterested walker is named Armand (Achille Reggiani), and the man in the car is his brother Guillaume (Arieh Worthalter). Armand is essentially homeless, working as a doorman/janitor at the local nightclub, Le Cargo.

Here, we see director Patricia Mazuy (who co-wrote the film with Yves Thomas) making excellent use of color, casting the environment in a dark blue or black with a bright light in the background, illuminating the characters in deep shadows.

At the Le Cargo club, there is ample sexual innuendo when Armand escorts three inebriated female patrons to their car. They give him a large tip while he takes an opportunity to leer at their legs and underwear. After they leave, he proceeds to masturbate against a nearby parked car in the rain, casting a glimpse into Armand’s unsettled personality.

Armand gets an offer from his brother Guillaume to run the bowling alley owned by his recently deceased father.

His brother’s job as a police officer gives him no time to run the establishment himself, and he believes Armand deserves the bowling alley more; nothing else was left to Armand in his father’s will due to his perceived illegitimacy.

After some persuasion, Armand eventually accepts the offer and goes to the bowling alley. Upon entering, we see the same use of striking color to set a distinct mode — dark blues and blacks with a bright white light, neon, and green highlight nostalgia and loss; it’s a place that seems stuck in the past.

Armand seems more interested in watching and propositioning young, attractive women bowling than running the business. His lack of people skills is evident in his treatment of a staff member, Lorraine (Elisa Hartel), who is curtly reminded of who the boss is and who pays her when she doesn’t respond correctly to one of his recommendations.

The story turns twisted when Armand takes a woman home for a highly graphical sexual encounter that ends with brutal violence.

A month later, Guillaume is responding to a hostage situation involving an endangered species activist named Xuan (Y-Lan Lucas). Xuan is being held at gunpoint at her office by Jean-Paul (Frédéric van den Driessche), a member of a local group of international big game hunters that his father also belonged to.

Later, we discover Guillaume is heading an investigation of a vicious serial killer, and the killer may be closer to Guillaume than he ever would suspect.

Saturn Bowling‘s pacing and use of color are very reminiscent of a movie like Seven by David Fincher.

Mazuy establishes moods through lighting, colors, music, and camera framing. The use of color is very effective. You can almost feel the mood of the characters in the scenes. It is not so much about the visuals but about how the story’s mood is reflected in the images.

The film’s tone is dark and somber at times, even when there is a lighthearted moment. It is also quite violent.

This movie is not for kids or anyone easily offended by blood and guts.

The violence could be described as excessive at times, but it is all done to drive home an emotional point or set up a dramatic scene.

The story is an exercise in contrasts. On one side, we have the character of Armand, who is cold, violent, and seemingly without compassion. Then, on the other side, we have Guillaume, an honest, decent person who cares and feels compassion for others.

The acting is strong, the characters are well-defined, and the actors bring considerable believability to their roles.

The story’s ending is almost comical, giving it an almost surreal feel, but it’s also quite satisfying and a compelling case for the pervasive hand of fate.

For such a small production with no real star power, it’s very well done.

If you like suspenseful mysteries with satisfying twist endings, this movie is for you.

By Reinaldo Gotierrez