From director Patricia Mazuy, Saturn Bowling is a gripping exploration of misogyny and familial trauma that binds two estranged half-brothers in a game of cat and mouse. A worthy addition to the horror enthusiast’s home video library, this French neo-noir thriller is not for the faint of heart, challenging viewers with its shocking brutality, though it does raise some interesting questions as to why this brutality occurs.
The story follows Armand (Achille Reggiani) and Guillaume (Arieh Worthalte), who are irreparably marked by a haunting upbringing where darkness, abuse, and the rule of the hunt reign supreme. When Guillaume inherits the family bowling alley after their father's passing, he decides to have his half-brother Armand, a troubled and angry man who seemingly cannot keep a job, manage it to help him get back on his feet. This gift unleashes a series of gruesome murders committed against young women in the area. At its core, Saturn Bowling is a grisly serial killer thriller, though it contains unexpected narrative beats that set it apart.
Through interactions with his father's hunting buddies and his half-brother, we learn that Armand is a "bastard" child who was maligned by his father, with Guillaume remarking that their father had said that Armand is bad luck in the past. It is very clear that their late father and his enthusiasm for hunting endangered animals played a significant role in the way the two men would develop, with Armand, driven by dark urges, becoming a predator hunting prey. In contrast, Guillaume, a police officer who seeks to protect society by hunting down criminals, eventually forms a relationship with animal activist Xuan (Y-Lan Lucas), whose values and profession directly conflict with his upbringing and falling into conflict with his father's friends who still frequent the bowling alley.
It is no mystery who the antagonist of the story is; Armand is shown to have bizarre and violent tendencies towards women from the beginning, and there are many obvious parallels to the reality of misogynistic attitudes and subsequent violence that have manifested in recent years as a result of the extreme feelings of sexual entitlement within incel communities and feelings of loneliness and discontent during the so-called male loneliness epidemic.
Though these parallels are not explicitly referenced, Armand's portrayal as a disaffected man unable to keep a job offers insight into his behavior. Much like his real-life counterparts, his hatred of women stems not only from sexual objectification but also from dissatisfaction with his own life–he enjoys causing others pain as a means to exert control because he feels powerless. His violent tendencies towards women are only augmented by his increasing power and social status. The popular bowling alley provides him with immediate access to young women, which he is eager to exploit; he is frequently shown flirting and hosting ladies' nights, much to the chagrin of his father's friends and long-time patrons.
Writing for Ion Cinema, Nicholas Bell says that Saturn Bowling "…conceptualizes brutality so shocking and vile it conjures a visceral reaction among the most desensitized of audience members." Certainly, the most challenging aspect of Saturn Bowling is its unflinching portrayal of sexual violence, particularly Armand's first kill, where a disturbing and grotesque sequence unfolds. Bell also draws a comparison to The Nightingale (2018): "Like Jennifer Kent with The Nightingale (2018), the overall takeaway of Saturn Bowling might be eclipsed by an appallingly distressing depiction of sexual violence…"
Indeed, this is the first feature that comparatively sprang to mind while contemplating the role of violent depictions of misogyny in film, as it prompted a large-scale debate regarding the question of the ethics in portraying extreme sexual violence against women and how these ethics differ when directed by a woman. Some contended that depictions of sexual violence against women in films are often gratuitous, unnecessary, and offensive.
In contrast, others argued that they are contextually different depending on the gender of the director, with women depicting sexual assault in terms of terror and reality-based fear. At the same time, men tend to portray these acts through a voyeuristic and fetishizing lens. Like Saturn Bowling, Jennifer Kent's film is unflinching in its depictions of sexual violence towards women, particularly in its first act, so much so that it notoriously prompted walkouts at the 75th Venice International Film Festival, where it premiered. Kent defended her approach, noting that violence against women is a harsh reality.
The first instance of violence in Saturn Bowling is also its most prominent; after taking a woman he pursued at the bowling alley back to his inherited apartment, she urges him to stop while they are intimate. Armand becomes enraged and begins to punch her repeatedly, eventually bludgeoning her with a table lamp. It's a sequence that is profoundly difficult to witness, as it is unrelenting, but it serves its purpose of forcing viewers to confront the despicable reality of such crimes. Moreover, the film's conclusion leaves the viewer bereft of any sense of justice being served, another unfortunate reality that mirrors our own.
Mazuy's directorial prowess shines, and the film's darkness is balanced by a twisty narrative that's as enigmatic as it is intense. The film was notably recognized by Cahiers du cinéma as one of the year's top ten, marking a departure in tone for the director. It is well written, though it does sometimes make use of popular genre tropes. However, these tropes are framed interestingly enough that it does not detract from the film overall. Saturn Bowling boasts strong performances throughout, with Worthalter's solid portrayal of a conflicted cop and Reggiani's impressive ability to convey an antagonist who is as simultaneously pathetic as he is dark and frightening.
The gritty neo-noir atmosphere is masterfully captured by cinematographer Simon Beaufils, and neon-soaked visuals are a treat for the eyes. The film's score, which ranges from droning, ambient noise to loud and chaotic, composed by Wyatt E., Sébastien Landauer, and Stéphane Rondia, effectively conveys mood. The film’s shocking content necessitates extensive use of practical effects, which are done well and are often impressive, if not graphic.
Overall, Saturn Bowling is a competent and entertaining thriller—if you can stomach it. To be sure, violence against women is never glorified, and it is largely toned down as the film progresses. However, viewers may still find the graphic depictions of corpses that appear throughout to be unsettling. Still, fans of thrillers, horror movies, serial killer stories, and crime dramas will likely enjoy the film. It is a great addition to any horror fan’s home video library.
How would audiences react to this screening?
Though some may be shocked by its violence, those who enjoy horror movies, thrillers, and crime dramas will enjoy Saturn Bowling.
What unexpected responses do you think audiences would have to this film?
Audiences may be able to draw comparisons to real-life examples of attitudes, behavior, and patterns that lead to misogyny and sexual violence. The film also acts as another entry into the arena of debate regarding depictions of these actions on film, and the ethos violence directed by women.
Would this film be suitable for a public screening?
Saturn Bowling would be great for screenings at independent and art house theaters, as well as horror programming.