Probably I don't like this much for the reasons most folk do: because it strips the context away. Beckett makes a Holocaust film. No mention of Jews, Nazis, or even war, so it becomes merely two young fellows running through the forest from guys with guns, with dream and flashback. M. Atkinson describes this with words like "postmodern," "abstracted," and "ambiguous," meant as praise, but for me that's the trouble.
There have been no small number of breathtaking restorations made available of late, but to my mind that of DIAMONDS OF THE NIGHT represents a new peak, and not only because Němec has meant so much to me for twenty years. A remarkable feat of preservation. The film has Buñuel's ants. There are the two others Bs (Bresson, Bergman). It exists on a continuum between Resnais and Nick Roeg. But it is a singular rapture.
4.5 "Démanty noci" is the magnific proof that Jan Němec is the extraordinary auteur beyond Czech-Slovakian New Wave. Exterminating historical or psychological information at extreme level with elliptical editing, this movie becomes the metaphor of life itself. Chased by amorphous dread and encrosed by infinite voidness, our life plunges into existential devastation and complete darkness. A masterpiece.
in the end , those collaborationist people killed two young men . They could not escape physically, but their dreams were already gone.this is my opinion... bc when their dreams have shown repeatedly after gun sound ,applause sound started.This was the celebration of death ...A realistic film ends in a surrealistic way which was better than easy pessimistic ending.
Antes que "Las margaritas" (Vera Chytilová), estuvo este filme, no tan transgresor, pero también inusual, fuera del cuadro que se estaba generando por entonces en el cine Checo. La línea habitual se sorteaba entre la comedia y el drama, siempre reflexivo ante lo social. "Diamantes de la noche" es una especie de rompecabezas con piezas repetidas que no respeta el tiempo. Cruda y alucinatoria (casi experimental).
The film's almost uncomfortably personal demeanor, found specifically in it's cinematography (but not limited to), creates a harsh aesthetic, which sets the overwhelmingly discordant tone. In turn, the lines between reality and surreality are blurred, allowing the viewer to question whether or not the characters can ever reach the paradise they once knew...Prague.