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)
Fairytale realism, where he represents the almost fantasy romantic element and she represents rational life, full of fear and uncertainty. All three of Linklater’s pictures are as deep as humanity itself, in this case our three screenwriters (director and main roles) quite chillingly reflect on the cruel truths of life. The dialogs are sincere, well-thought out and there is such a build-up during last third that you start to get scared. You’re scared because you know how it might turn out. And after everything you have seen, you don’t want that. After all these years that you know these people you want to enter the story, take a time machine and go back and tell them to stop it. To look back and think. Life isn’t perfect, but it’s up to us to make the best of it.
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Anyone who has ever loved knows these fears. The fear of loneliness and at the same time fear of the weight of past decisions, of the power of chance and the relativity of time. Because romantic encounters are beautiful and spontaneous and magnificent, heart-rending reunions are unforgettable. But love years later is something that cannot be left to chance. Richard Linklater has resurfaced with a film that had countless opportunities to fail, to fail to live up to its predecessors, and to dilute the magic of what seemed definitive. And just like in Paris, I was blinded with tears by being able to pick up nine years later, in the same place. Some things in life may wither sooner or later and some things unfortunately intensify. And despite the fact that Before Midnight tears the heart in the most intimate and treacherous way, these two talkative travelers are once again at full strength. Their eighteen-year odyssey has no equal in the genre of romantic drama. And my sixth sense tells me that the year 2022 might bring us something good again.
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Julie Delpy and Ethan Hawke’s romance hit my life out of the blue. I actually entered the story at a moment when they met for the second time, supposedly by coincidence and again in Paris. Yes, I didn’t have the honor of watching their first meeting after I saw this one. On the other hand, I believe that I got quite far when it comes to intimate discussions and I managed to catch a lot from the things that happen in the movie. Unfortunately, I simply can’t give it more than four stars. I think that maybe a woman would appreciate this part more than a man. Whatever is a victory for the lady in this movie is a challenge for the man. And I’m talking about relationships. And in this one, Julie does it several times. The opening part of the movie seems like pure bliss, especially that endless scene in the car. Then you get another great scene at the Greek lunch and in the end it’s all ruined by the night at the hotel. I don’t know why and I don’t want to be a male feminist, but it’s always the guy who’s at fault. Why is that? Anyways, Greece doesn’t get any sexier than it is in this movie. I’m really glad that even a couple of Americans, or rather the authors of this movie understood that Europe can be pretty amazing.
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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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To my own surprise, after the scene in the car I stopped watching where the actors were reading their dialogue from, which I suddenly started to have a tendency to enter. Linklater's concept of relationship wrought into resigned feminist dogma (I chuckled maliciously at the scene where the women prepare dinner while the men sit and talk about literature, i.e. the scene the protagonist later leans into) works with the premise of accepting fictional identities that suppress the real identities already mapped and scorned by their counterparts. And I'd like to keep watching that final spark that jumped between the chrononaut and the naive literature student. Even though neither of them exist.
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