There’s been some discussion over the past several years about the relative value of miserablism in cinema, specifically art-house cinema. And there’s probably something to the notion that some filmmakers use horrifying scenarios lazily, not really considering the implications of unrelenting violence and misery but simply using their presence to suggest depth or importance. Of course, the other side of this is that Donald Trump was elected president days before I saw Malgré la nuit, and sometimes the world does feel as hopeless as that which is depicted here. Sometimes, a deep-dive into the world of snuff pornography through the lens of whispered conversations and desperate cries feels about right. Doubly so when it’s as masterfully, breathtakingly executed as Philippe Grandrieux achieves here.