“Gone in the Night” is a psychological thriller released in 2022, and is the first directed feature by Eli Horowitz. As co-creator of Homecoming, Horowitz is known for his podcast work, but his film blends a traditional missing persons narrative with an unexpected speculative science twist. The film, which is headlined by Winona Ryder, Dermot Mulroney, John Gallagher Jr., Owen Teague, and Brianne Tju, uses a non-linear format for exploring themes of obsession, betrayal, and the insatiable human urge to reverse the flow of time.
Gone in the Night is set in the eerie stillness of the redwoods in Northern California. The movie unfolds a mystery that is layered, about personal regret and scientific overreach, all while maintaining an atmosphere filled with creeping dread.
Plot Summary
The plot kicks off with Kath (Winona Ryder) and her much younger boyfriend Max (John Gallagher Jr.) heading to a secluded cabin in the woods for a fun filled weekend. To their suprise, they discover that a couple, Al (Owen Teague) and Greta (Brianne Tju), is already at the cabin. Both couples reluctantly decide to share the cabin for the night due to the double booking.
What begins as slightly awkward becomes more intense as Max further becomes captivated by the mysterious Greta. Kath awakens the next morning only to discover that both Max and Greta are missing. Al suggests the two of them left ‘together’, hinting that they could have eloped during the night. Kath, confused and feeling hurt, tries to move on with her life, but remains haunted by the feeling that something is terribly off.
In her quest for answers, she reaches out to the cabin’s owner, Nicholas Barlow (Dermot Mulroney), a strikingly charming man in his later years, who seems to sympathize with her plight. Together, they embark on retracing the steps, hoping to find Greta and uncover the truth surrounding Max’s mysterious disappearance.
As Kath continues with her self-assigned investigation, the film deftly alternates between the past and the current timeline to peel back the tension between the characters. It is through these layers where we discover that Nicholas is not merely a cabin caretaker. He is a former biotech scientist with a compulsive obsession for reversing the aging process. What first appeared to be an ill-fated rendezous turned out to be darker and more eccentric than expected.
As it turns out, Max was seduced for not love, but rather for science. Nicholas, along with Greta and Al, is performing unauthorized illegal underground experiments on rejuvenation. Max ends up as one of their most gruesome and violent test subjects. The lightly touched upon sci-fi aspect of the story builds further on the already existing thriller elements, raising far too many ethical concerns regarding desperate medical practices, desperation, and obsession with youth.
In the rush to the climax of the story, Kath pieces together the full extent of what Nicholas does. She retraces the steps of Max’s capture, only to discover that he died as a result of the experiment. In an act of poetic justice, Kath seals Nicholas, Al, and Greta in the same storage container that Max perished in, subjecting them to the consequences of their reckless decisions.
Cast and Characters
Kath is played by Winona Ryder, who gives a soft blub performance as Kath. Her portrayal does not allow the character to be one-dimensional, adding value and depth into a role that is too contrived. Kath is not a conventional “scorned woman” but an emotionally intelligent, curious multi-faceted understanding character and complete person forensics who does seek closure, but not in a typical sense.
In his role of the detached youthful boyfriend, John Gallagher Jr. as Max portrays a character whose casual appeal masks a deep-seated vulnerability and immaturity. For a character like this, he serves as a trigger for darker turn of events in the movie’s plot.
The character of Barlow is brought to life by Dermot Mulroney who plays the villainous scientist remarkably well. In this role, he demonstrates the perils of unchecked ambition with a blend of warmth and menace.
Owen Teague and Brianne Tju as Al and Greta, respectively, round out the cast. They play dangerous but fun teenagers who do more than their share to build the mystery and tension.
Direction and Cinematic Style
Director Eli Horowitz utilizes a nonlinear narrative structure that strategically unveils the film’s mysteries via flashbacks. This approach reflects Kath’s emotional state and fragmented mental condition. The film is not designed to be overtly horrifying, but relies instead on subtle, eerie atmospheres–quiet settings and character-driven moments–to build suspense.
Cinematography by David Bolen captures both the serene yet hauntingly beautiful forests as well as the clinical sterility of Nicholas’s lab. The way both the forest and the lab are portrayed emphasizes the unnatural process of aging in comparison to nature.
David Baldwin’s minimalist score sustains the film’s atmosphere. It underpins moments of reflection and dread without overwhelming the story, ensuring focus remains on the narrative.
Themes and Interpretation
Gone in the Night touches on a number of both contemporary and timeless themes:
Obsession with Youth: The film particularly focuses on the modern societal concern of how aging is perceived as an illness. Nicholas’s reckless science explores the moral quandaries of anti-aging techniques.
Betrayal and Trust: Kath’s emotional arc can best be described as one of betrayal—not just romantic, but existential. A lover betrays her, and she is ultimately let down by the very fabric of trust in relationships and society.
Regret and Redemption: Kath’s answering journey can be construed as an attempt of self-redemption. She is not solely trying to win Max back, rather trying to understand the origin of the life of emotional neglect that she ended up in.
Scientific Ethics: The film also questions how far the line can be pushed in the name of progress. At which point does innovation become dangerous science,especially when it is motivated by self-indulgence or desperation?
Reception
Gone in the Night was reviewed with indifference to moderate positivity when it was released. Critically, Ryder’s performance was recognized alongside the film’s interesting premise. The plot twist featuring experimental anti-aging science, while imaginative and unpredictable to some, was viewed by others as inadequately delivered or emotionally shallow.
Some reviewers noted that the film’s tone shifts from a psychological thriller to a sci-fi conspiracy in the latter half may be considered jarring. Even so, many other reviewers responded positively to the film noting its distinct perspective and ambitious nature within an already saturated thriller market.
Conclusion
As the title suggests, Gone in the Night is a chilling and introspective thriller that interweaves emotional enigma with speculative fiction. With the film headlined by Ryder’s calm and composed performance, the movie is shocking not only because of its twist ending but also because of the subvey manner in which it addresses aging, obsolescence, and betrayal, which fuels dread in human beings.
The film may not have the exhilarating adrenaline rush of a mainstream horror film, but it has an eerie quality that meditatively explores how individuals grapple with time, relationships, and loss. For the more discerning audience members looking for character-centric thrillers that revovle around a dark plot twist, Gone in the Night is an unsettling, haunting experience that’s difficult to forget.
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