Dark and dirty story bubbling with intrigue and discovery. It is greatly enhanced by the ABSOLUTELY GORGEOUS b&w cinematography. It's a journey of self-discovery and the confusion of trying to find one's self amidst a sea of misinformation and bad examples all around. Stunningly bleak but played with a mesmerizing honesty. The opening sequence is truly remarkable and visually amazing.
5 stars for the first 1/2... but then the movie betrays you. The camera clearly relishes the beauty and sensuality of the youth at the center of the film. But then cartoonishly villainizes and punishes a character that does the same thing? huh? nice lensing though.
Intense cinematography with references to Tarkovsky and Bela Tarr, but a pretentious, hollow script. It resurrects the figure of the lonely, artistic and religious sodomite who preys on young boys and gets what he deserves. You also get the African immigrant stealing the wallet of a white man on the bus.
Perhaps updating Eraserhead's post-apocalytic landscape, Honkasalo's rich noir stylization allegorizes itself in the gay photographer's youth fetish. But there's an identity between youth and man, dream and reality, as Simo learns, and like the suicidal scorpion the film injects itself with its own venom with each of its carefully etched scenes.
Concrete Night is a visually engaging film, more interesting for its expressive shot design than for any sort of causal linear satisfaction. Brotherus' performance is perfectly-pitched. The black & white lends the film a dark tone and a distorted morality... I can't recommend this movie but I did enjoy the experience.
Visually stunning, sparse on dialogue and interspersed with several passages of philosophy, Concrete Night resolves poetically true becoming a cautionary tale on influence and free thinking. The cinematography is lush, flooded with a single keylight in almost every scene while also amplifying any moving light to add texture. 3 stars