One Year, One Night (Spanish: Un año, una noche) is a 2022 Spanish-French drama film directed by Isaki Lacuesta starring Nahuel Pérez Biscayart and Noémie Merlant. Inspired on the book Paz, amor y death metal by Ramón González, it premiered at the 72nd Berlin International Film Festival on 14 February 2022.
| One Year, One Night | |
|---|---|
| Spanish | Un año, una noche |
| Directed by | Isaki Lacuesta |
| Screenplay by |
|
| Based on | Paz, amor y death metal by Ramón González |
| Produced by |
|
| Starring | |
| Cinematography | Irina Lubtchansky |
| Edited by |
|
| Music by | Raül Refree |
Production companies |
|
| Distributed by | BTeam Pictures (es) |
Release date |
|
| Countries |
|
| Languages |
|
Following Ramón and Céline, survivors of the Bataclan theatre massacre, the plot goes back and forth between the night of the attack at the Bataclan and the trauma experienced in the year thereafter.
Based on the book Paz, amor y death metal by Ramón González,[2] the screenplay was penned by Fran Araújo, Isa Campo and Isaki Lacuesta.[3] The score was composed by Refree.[2] The film is a Mr Fields and Friends, Bambú Producciones, La Termita Films and Noodles Production production, with the participation of TVE, Movistar+, TVC, and support from ICAA, ICEC [ca] and Eurimages.[4] Filming began on 8 February 2021 in Barcelona.[4] Shooting later moved to Paris.[2]
The film premiered on 14 February 2022, screened at Berlinale Palast as part of the 72nd Berlin International Film Festival's main competition.[1][5] BTeam Pictures was distributed the film in Spain,[4] where it was released on 21 October 2022.[6]
One Year, One Night received generally positive reviews from film critics. It holds a 75% approval rating on review aggregator website Rotten Tomatoes based on 6 reviews, with an average rating of 6.40/10.[7]
Jonathan Holland of Screendaily considered the film to be "an emotionally compelling psychological drama", bringing some of Lacuesta's hallmarks, including a quasi-documentary style and a deep compassion for the unfortunate.[8]
Anna Smith of Deadline deemed the film to remain "a powerful, bittersweet meditation on the impact of trauma and the desire not to be defined by it".[9]