One Night Only: A Bizarre Rom-Com Where Freedom Meets Farce

Ben Thompson, Culture Editor
5 Min Read
⏱️ 4 min read

In a cinematic landscape that often struggles to breathe life into the romantic comedy genre, Universal’s latest offering, *One Night Only*, arrives with a high-concept premise that is as bewildering as it is bold. This film, which hits Australian cinemas on 6 August and graces the screens in the US and UK the following day, poses an eyebrow-raising question: what if a government mandated a 12-hour window each year for premarital sex? Aiming to blend the lightheartedness of a rom-com with the absurdity of a dystopian scenario, the film tries to navigate the treacherous waters of social commentary while delivering laughs, but does it succeed?

A Gimmicky Setup

*One Night Only* is built on a foundation that feels more suited for a dark satire than a feel-good romantic romp. In this peculiar world, single individuals are legally permitted to engage in sexual activities for just one night each year, leading to a chaotic atmosphere where desperation reigns. The film opens with an introductory sequence that draws chuckles from the audience, explaining the bizarre “government-decreed sexual climate” that has made pre-marital sex a badge of dishonour for some. The absurdity escalates with the introduction of biosensors, which signal sexual activity by changing colours, and a steep price for protection that reaches up to £2,000. While the premise is intriguing, the film struggles to balance its dark implications with the light-hearted escapades of its characters.

The Quest for Connection

Set against the vibrant backdrop of New York City, the film follows Owen (Callum Turner) and Allie (Monica Barbaro), who embark on a frantic quest to find companionship before the clock runs out. Owen’s plans with his girlfriend (Maya Hawke) unravel when she opts to pursue a neighbour instead, while Allie is pushed by her queer roommate to embrace the night. As the pair navigate the city’s nightlife, they find themselves inexplicably opting out of a sexual encounter, instead choosing to play matchmaker for each other.

Director Will Gluck infuses *One Night Only* with a bright, poppy aesthetic that stands in stark contrast to many of the genre’s recent offerings. His ability to capture the vibrancy of New York is commendable, yet it cannot mask the film’s shortcomings in character development. While Turner and Barbaro’s chemistry offers a glimmer of hope, their banter often falls flat, leaving audiences questioning the motivations behind their actions.

A Missed Opportunity

As the film unfolds, it becomes evident that it aims for a raunchy caper vibe but struggles to maintain momentum. With a series of unconvincing cameos and a disjointed narrative, *One Night Only* feels more like a collection of comedic moments than a cohesive story. The plot raises numerous unanswered questions, such as the absence of discussions around masturbation or the consequences of breaking the law, which only serve to highlight the film’s uneven world-building.

Interestingly, instead of embracing sexual liberation, the film veers into a progressively sex-negative territory, casting ridicule on those who desire intimacy while glorifying abstinence. This ironic twist leaves audiences more baffled than entertained, especially given the film’s release against the backdrop of current societal discussions about sexual freedom.

Why it Matters

*One Night Only* stands as a curious testament to the challenges of crafting a modern romantic comedy that resonates amidst a backdrop of serious societal issues. The film’s attempt to explore themes of freedom and control through a whimsical lens ultimately falls short, revealing a disconnection between its comedic aspirations and the weighty implications of its premise. As audiences continue to seek genuine narratives in the rom-com genre, *One Night Only* serves as a reminder that clever ideas alone cannot salvage a film that fails to engage emotionally or intellectually. Whether it becomes a cult classic or fades into obscurity remains to be seen, but one thing is clear: the road to reinvigorating the rom-com genre is still fraught with challenges.

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Ben Thompson is a cultural commentator and arts journalist who has written extensively on film, television, music, and the creative industries. With a background in film studies from Bristol University, he spent five years as a culture writer at The Guardian before joining The Update Desk. He hosts a popular podcast exploring the intersection of art and society.
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