Directed by:
Richard LinklaterCinematography:
Christos VoudourisComposer:
Graham ReynoldsCast:
Julie Delpy, Ethan Hawke, Athina Rachel Tsangari, Panos Koronis, Ariane Labed, Walter Lassally, John Sloss, Seamus Davey-Fitzpatrick, Xenia Kalogeropoulou (more)VOD (2)
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In Before Midnight, we meet Celine and Jesse 9 years on. Almost 2 decades have passed since that first meeting on a train bound for Vienna, and we now find them in their early 40's in Greece. Before the clock strikes midnight, we will again become part of their story. (official distributor synopsis)
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Reviews (10)
Life has consequences; that's just how it is, and we can't do much about it. We see this clearly with this amazing couple, whom we've encountered for the third time. Jesse and Céline are married, which is a pleasant revelation, but the romance that was present in their first and even second meetings has gradually faded from their shared life. They're used to each other, they have their problems. That's just life. Nonetheless, you still enjoy watching them and listening to what they have to say, because this is the most beautiful aspect of all three films. Julie Delpy and Ethan Hawke just click, whether they're in love or a bit jaded with life. They’re such a perfect couple that one wonders why it isn't true in real life. Will we see a fourth installment in nine years?
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Another incredibly mature work. Fantastically oscillating between melancholy, romance, drama, and exaggeration. Flawless acting and the several minutes-long shots, concentrating all the film energy on the two protagonists are a stroke of brilliance. A generational change within the theme, but the quality is absolutely unchanged. This is life.
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At the beginning, I will try to uselessly separate the individual parts from each other. Before Sunrise was a beautifully naive romantic comedy about two young people full of ideals who accidentally burned (went crazy). Before Sunset is the story of two mature adults who went somewhere, but memories draw them to something they maybe should have done (but didn't). Before Midnight is the story two people who changed their lives for a memory and did what they promised never to do at the beginning. As a result, the third film is necessarily the most open, most intimate (there are few secrets and room to pretend to “be someone else"), the most painful (many of the themes that were the subject of jokes in previous cessations return, but now it is a lot worse to laugh at them), and also the most markedly sarcastic to cynical. It's a conversational analysis of everyday routine that reveals the remnants of the "intellectual sex appeal" that Jesse and Celine felt, but above all it is a civilian dive into banality, fatigue and fear of being alone. Before Midnight is full of irony, both internal and contextual (the casting of the non-conformist observer of the disintegration of the traditional Athina family, Rachel Tsangari, in the role of a cheeky Greek woman), contains probably the best dialogue in the trilogy (car scene), and it is largely lacking the paper rustle of its predecessor. Smoothness bordering on routine (but the most interesting), the kitschy environment of the Greek idyll constantly clashed with minor conflicts, fears and suspicions that at the end of Before Midnight there will be no place for a dream and romantic dreaminess. Nevertheless, the final scene is fragile and playful, full of contrasts of hope, resignation and humor, which develops the relationship of one of the most remarkable film pairs, both poetically and relentlessly sober. Linklater's minimalist direction once again triumphs and relies on organically flowing time, sometimes divided by the caesuras of sadness / enchantment. The script is even more polished, pointed and full of sharp wit - although in a few scenes there is again hesitation as to whether the little pearl at the bottom is worth the big a pile of words. I don't want to share it with anyone, but if I have to, then Before Midnight is closest to me emotionally and mentally. So, Jesse and Celine, later... in the next decade.
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In the final part of the trilogy, Linklater and I really clicked. His characters have finally grown up and, despite their flaws, they are now able to behave as mature parents and partners. It is no longer so self-centered because their children, acquaintances, and friends complement the married couple. In terms of age, worries, and emotions, I feel close to them and I understand their problems and behavior. I would say that Linklater has matured as a filmmaker during the long breaks between films. Overall impression: 80%.
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In my opinion the weakest installment in the entire trilogy. There’s no shortage of strong moments, and the chemistry between the two main protagonists still works, though it must be stressed that it is different from the previous installments. As I began with my criticism of Celine in my review of the previous installment, here I have to multiply it. There is no doubt that they are both in a very difficult life situation, which of course has a huge impact on how they function and "get along" with each other. I am not their age (at the time of writing I am a fresh-faced 29), but my life belief has always been and will always be that both partners should first and foremost help each other, support each other, and overcome obstacles together. I respect doubt, insecurity, searching – all those toxic feelings because I occasionally have them too (as does everyone). Personally, though, I have a problem with those doubts escalating into treating the other person in the couple like dirt. I dare not say whose side was at fault in this case. You can't anyway. But I see the starting point as finding a common solution and supporting each other, because that's how I think relationships should be. I'm certainly not selling a recipe for a happy relationship here, because I don't have one. It’s a hat trick, Mr. Linklater (wow the first time, bravo the second).
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