Over more than half a century on the market, video games have achieved true cultural ubiquity — arguably more than narrative filmmaking in the current day. How wrong it is, then, that movies have largely continued to show gaming in a shallow, nonliteral manner, portrayed as thoughtless joy buzzers, rather than indicating how a title handles or commands attention. Caroline Poggi and Jonathan Vinel don’t take such shortcuts with their thriller “Eat the Night.” Though the narrative spine is a turf war between small-time drug dealers, the Cannes-launched French feature searches for its big emotions in the digital realm, with long in-game sequences that follow a teenager compelled to
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