In 1956, a group of miners find themselves trapped in the depths of a coal mine. They quickly realize that they are not the only ones. A film by Mathieu Turi, starring Samuel Le Bihan, Amir El Kacem, Jean-Hugues Anglade, Thomas Solivérès, Bruno Sanches, Diego Martín, Marc Riso, and Philippe Torreton.

Northern France in 1856, a miner (Mikaël Fitoussi) discovers a hollow space behind the stone wall he has been digging. He quickly realizes that it is a gas pocket when the canary he brought along suddenly drops dead.

A gas pocket refers to an accumulation of flammable gas, primarily methane, found in coal seams and surrounding strata. This gas can build up in significant quantities and poses a serious risk of explosion when miners penetrate these pockets during excavation. To detect the presence of dangerous gases like methane, miners brought canaries into the mines. Canaries were chosen because their respiratory systems are sensitive to toxic gases, similar to humans. If the canary showed signs of distress, such as stopping its singing or becoming lethargic, it indicated that dangerous gas levels were present, prompting miners to evacuate the area immediately.

A shot-firer (Wabinlé Nabié) is summoned to clear a pocket of gas so the miners can resume work. After inspecting the area closely, he instructs everyone to step back from the hole, explaining that he needs to blow off the gas. Carrying a lantern and a linstock, he walks through the opening and finds himself a large chamber. He then lights the candle at the tip of the linstock and advances cautiously, step by step.

Suddenly, the shot-firer is startled by a monstrous growl and the sight of a skeletal hand that swiftly retreats into the darkness. Terrified, he drops the linstock. The gas ignites, triggering an explosion that causes the gallery to collapse. The miners are presumably trapped inside, possibly dead.

A century later, in 1956 Morocco, Amir (Amir El Kacem), a young Moroccan who can speak French, is recruited by Félix Mora (Antoine Basler) to work in a mine in northern France. Each miner is promised a daily wage of 44 francs, which will be deposited into their bank accounts, and their contracts can be renewed after 18 months. Later, Félix instructs his assistant Rachid (Moh Aroussi) to send Amir to the pit group 5, which Rachid refers to as L’Île du diable (Devil’s Island), asserting that Amir won’t last two days there. However, Félix insists on this arrangement.

At a mining basin, Professor Berthier (Jean-Hugues Anglade) visits Mr. Fouassier (Philippe Torreton) with a proposal to offer him a large sum of money if he can accelerate the digging process to reach a depth of 1,000 meters from the current 930 meters within a week. During their conversation, an accident occurs: a miner with a severely injured leg is brought to the surface by Roland Neuville (Samuel Le Bihan), a seasoned and strong miner. Roland’s heroic qualities catch Berthier’s attention, and he insists to Fouassier that Roland should accompany him when he goes down into the mine next week.

A week later, Roland’s team is assigned to take Berthier 1,000 meters deep into the mine. The team consists of Roland himself, Polo (Marc Riso), Miguel (Diego Martín), Santini (Bruno Sanches), Louis (Thomas Solivérès), and a newcomer, Amir. Each member is promised a bonus of 400 francs and instructed to follow orders without question. Miguel detonates an explosive on the mine shaft’s floor at the spot marked by Berthier. As the smoke clears, they discover a hidden maze of tunnels underneath. While Berthier insists his expedition is purely educational, claiming he only wants to take samples and photographs, Roland grows suspicious that Berthier may have ulterior motives.

French miners were informally known as Gueules Noires, which translates to “black mouths” or “black faces.” This term originated from the physical appearance of the miners, whose faces became covered in black soot and coal dust as a result of their work underground in the coal mines. The intense labor and harsh conditions of mining left their skin and mouths visibly blackened, leading to this distinctive nickname. The use of “gueules” (mouths or faces) in the term reflects a certain camaraderie among miners, as they all endured similar hardships regardless of their background or ethnicity.

Upon entering the tunnel, they realize it could be part of an ancient mine legend known as “Les Damnés de Saint-Louis” (The Damned of Saint-Louis). According to the rumor, over a hundred years ago, a shaft caught fire, trapping more than 30 miners inside. Their bodies were never found. While Berthier wanders off alone, Santini, Louis, and Amir stumble upon a skeleton, believed to be one of the miners from Saint-Louis. As Louis and Amir search the remains, they discover a strange object that appears to be carved from stone. (If you have seen “The MUMMY,” you might be able to guess what it really is.)

Later, Miguel detonates another explosive on a stone wall as instructed by Berthier. Inside the newly revealed chamber, they are startled to find dozens of skeletons, believed to be holy guards, with swords and shields scattered around the room. It appears these guards were killed while attempting to fend off an attack. In the corner of the room lies a black sarcophagus with strange decorative sculptures on its lid. Berthier is excited with the historical discovery and explains that, according to legend, people used to worship the entity inside the sarcophagus, treating it like some kind of god.

Roland loses patience with Berthier for not telling the entire truth. He insists on leaving immediately, stating that Berthier could return later with his own men, as Roland refuses to further risk his team’s safety. However, just as they’re about to leave, the shaft suddenly collapses, severely breaking Santini’s leg. Since Berthier had paid everyone in advance to clear the area, nobody outside knows that the shaft has collapsed, trapping them inside.

Roland orders Polo, Louis, and Amir to find another way out, but instead, they return to the sarcophagus, trying to pry it open in hopes of finding valuable offerings. However, the lid is too heavy and doesn’t budge. Amir notices a peculiar hole in the center of the lid and realizes it has a similar shape to the object they found earlier. He places the object into the hole, and it fits perfectly. As he twists it, the object functions as a key, unlocking the sarcophagus’s lid. Inside, they discover dozens of precious gemstones. Unbeknownst to them, they have just released something evil that has been imprisoned for centuries.

Written and directed by French filmmaker Mathieu Turi, GUEULES NOIRES is a fantasy horror film that weaves mythical elements into a captivating narrative. The story engages viewers as it unfolds the dark secrets of the underground tunnels where a group of miners finds themselves trapped, desperately trying to find their way out.

Les survivants de la grande chute sont les seuls à mériter le désir de Mok’noroth.

I have always been fascinated by films about treasure hunting and archaeological expeditions exploring ancient or lost civilizations. These stories, brimming with dark secrets and supernatural mythical elements, are rare nowadays. While some are still made, truly good ones are hard to come by.

Les neuf sortiront de leur sommeil et envahiront la Terre pour préparer la venue du grand ancien.

I love how the filmmaker incorporates elements from H.P. Lovecraft’s Cthulhu Mythos along with his own creation of the god-like entity Mok’Noroth.

H.P. Lovecraft (1890 – 1937) was an influential American writer known for his contributions to the genres of fantasy, horror, and science fiction. He is often regarded as one of the 20th century’s masters of Gothic literature, particularly for his creation of what is now referred to as Weird Fiction. One of his most famous creations is Cthulhu, an ancient cosmic entity that symbolizes the unknown horrors lurking beyond human understanding. This character is central to the Cthulhu Mythos, a shared fictional universe that includes other entities like Yog-Sothoth and Nyarlathotep.

I find that the film works best when Mok’Noroth doesn’t fully appear on screen, such as when it lurks in the shadows, emanating terrifying sounds from the darkness, or when only parts of it are revealed, like a glimpse of a hand or a silhouetted figure. One of my favorite scenes is when Santini uses the flash from an old camera as a light source to illuminate something lurking in the dark; that moment is pure thrill.

N’est pas mort ce qui à jamais dort. Et au fil des siècles peut mourir même la mort. Car Mok’noroth n’a qu’un seul maître.

The film also features several memorable kills that are both visceral and stunning, achieved through practical effects rather than CGI. When Mok’Noroth reveals its full body, the design is imaginative and intriguingly terrifying; however, the magic seems to fade due to Mok’Noroth’s unnatural movements, making it feel more like a marionette than a realistic depiction of a vicious deity. At times, it appears as if Mok’Noroth is being controlled by invisible wires.

GUEULES NOIRES premeired at Festival du Film Francophone à Angoulême on 26 August 2023. The film was theatrically released in France on 15 November.