Usually, filmmakers have a tendency to keep their dark comedy & their sex romps separate. Full-blown sex comedies are usually mindless entertainment more concerned with raunchy gags than existential contemplation & while a black comedy might lighten the mood with an occassional sexual diversion (last year’s sadistic Cheap Thrills comes to mind), it’s rare that sex is its main focus. Even the recent raunch fest Wetlands, which I absolutely loved, kept its dark streak separate from its hedonism, a difficult task for a movie mostly remembered for its ungodly volume of on-screen semen. There might be a reluctance in blending the sexual with the menacing both because it’s awkward to take sex seriously & because sexual menace is difficult to play for a laugh for reasons that should be more than obvious without explanation.
In The Overnight, we have a surprisingly successful homogeneous blend of the black comedy & the sex romp, one where both elements are fused together completely instead of played off each other for a contrasting effect. The movie strikes a consistently terrifying tone through its depiction of underhanded sexual coercion, but somehow never loses grasp of the sillier raunch tangents you’d expect in a typical sex comedy. The effect of this powerful combination is that the sex gags are twice as funny as they’d normally play, thanks to the way they relieve overbearing tension of the the film’s sexual menace. In a lot of ways The Overnight follows the typical party out of bounds story structure of classic black comedies like The Exterminating Angel & Who’s Afraid of Virginia Woolf? where in-over-their-heads guests feel compelled to remain at a social function even though the mood has soured, but the four characters at the center of this particular party out of bounds & their surprising tenderness for each other are unique to the genre. It’s a very well-written example of a very familiar story that I have a huge soft-spot for.
Besides the deft balance & gradual escalation of the razor sharp script, The Overnight‘s strongest asset is its cast. Adam Scott & Taylor Schilling are fantastic as the befuddled North Westerners struggling to decide if their Los Angeles party hosts are just having a California-style good time or if they’re swingers trying to take their newfound friends to bed. Jason Schwartzman & Judith Godrèche steal the show as the film’s sexual menace, making both sly & overt sexual advances through maneuevers as simple as a hand on a knee and as ludicrous as an art studio packed with abstract paintings of buttholes. It’s difficult to decide through most of The Overnight whether the L.A. couple is taking advantage of their more uptight out-of-towners guests or if they’re apparent sweetness is genuine. The tension between those two competing readings is a great dynamic and both tones could be read in some of the film’s best scenes, like in a stoned, strobe-lit dance party or in a literal dick-measuring contest by the poolside. It’s a testament to the film’s effectiveness that what lingers in your mind after the credits is not the film’s individual sex gags, but rather the implications of the relationships that form between the film’s two central couples. It’s both an equally fun & terrifying experience, as well as a must-see for fans of Jason Schwartzman at his most mischievous.