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Recenzii ale criticilor
Before Midnight
Richard Linklater Statele Unite, 2013
Screen romances do not as a rule lend themselves to sequels. To extrapolate beyond the conclusion of most love stories is to complicate, or to shatter, the myth of happily ever after. It could be said that Before Midnight belongs to an entirely different, and considerably trickier, genre than its predecessors—that of the marriage movie (even if Jesse and Celine are not technically hitched).
March 01, 2017
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Though together as a result of their genuine loving bond, BEFORE MIDNIGHT openly and boldly questions why they remain connected. A lengthy scene during dinner with friends young and old allows for an egalitarian discussion of just this idea, expressing in a different way what Linklater’s films are: interim reports on the shifting definition of love as we age. The scene also sets up one of the most remarkable quarrels on film, elegantly shot and staged.
August 30, 2013
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Linklater has always flirted (in an artistic sense) with superficiality: it is both the challenge that he works with, and the trap into which he sometimes plunges. He likes to keep things light, a bit mundane and trivial. His characters blather on, enjoy the small things in life, occasionally skirt around a major problem… But the Before series has, on this level, deteriorated from one film to the next…
August 30, 2013
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If you can ignore the lunchtime scene, the film is near-perfect. All the small things about the couple – Celine’s self-conscious irreverence in an old church, slacker Jesse saying of someone he dislikes that “when I look at him, all I see is ambition”, above all the unforced rapport between Celine and Jesse (or is it Delpy and Hawke?) – emerge so naturally that the lines between actor and character become imperceptible. The entire final act in the hotel is one for the ages.
August 26, 2013
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Getting older, the rawness of youth planed and sheened, greedy ambitions and lust for life tempered and compromised: no fictional series of movies – not Truffaut’s Antoine Doinel films (and among documentaries perhaps only Michael Apted’s Up series) – has ever chronicled this inexorable journey with such tenderness.
June 21, 2013
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As much as Before Midnight impresses as a kind of caustic bourgeois soap opera, it’s the cadence, inflection, intonation, rhythm and tone of words that are the film’s foremost pleasures. Delpy and Hawke have not merely learned their lines and barked them at one another, but have developed an elaborate catalogue of gesticulations and voices that blur the line between what is being said and what is being meant.
June 20, 2013
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The film’s (re)watchability is a testament not simply to the wisdom imparted but to the dramatic musicality of its tone, the transparent rapport between the stars, and Delpy’s brilliant understanding that one key to playing matrimonial anger is to add a pinch of sarcasm to cut the sense of oppression. But Hawke is just as good at remaining cool while Delpy overheats. Both actors make you feel why each is good for the other.
June 19, 2013
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Before Midnight never quite reaches the levels of vitriolic outpouring achieved in Bergman’s towering 1973 relationship drama [Scene from a Marriage]—but then again, Linklater’s never been a director for whom profound moments emerge out of extreme conflict… The film’s hotel sequence—one of the most confident, moving passages in Linklater’s career—is a marvel of rich dialogue craftsmanship, with the couple balancing on a knife’s edge between tenderness and hostility throughout.
June 14, 2013
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Though it doesn’t quite reach the heights of Sunset, Before Midnight works in part because its two stars have continued to age well into their parts. Hawke in particular, whose career as an actor seems to be one long journey from fresh-faced self-absorption to weathered neurosis, does a terrific job tempering Jesse’s alpha-male swagger with a kind of haunted quality: Beneath all that confidence, he seems so lost at times you want to give him a hug.
June 13, 2013
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For the first time, their narrative has been contrived with a distinct lack of urgency. Will these two, known to us so much for their intellectually searching, bedeviling, and sometimes maddening conversation, still have things to talk about? Or more to the point, will they find the time to do it? It’s a question that this very self-conscious and very special film is quite aware of, and one it responds to brilliantly.
May 24, 2013
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Before Midnight comes pretty damn close [to equalling Rossellini’s Journey to Italy] (the one thing I think holds it back from perfection is arguably unavoidable, given the movie’s rooting interest in its lead characters), and while some might call the picture a gabfest, its sense of cinematic unity is more astute than most movies containing three or four or 10 or 20 times as many shots.
May 23, 2013
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The third film finds a greater distance traveled than that between the first and second. If once the young pair could be brashly cynical—and romantic—about so much because they had experienced little, now the accumulation of things said and done militate against the survival of the relationship, which rather than a dream is now real—and difficult… The magic trick of the Before films is extended for one more what-happened-next, and it’s as terrifying and wondrous as any relationship can be.
May 22, 2013
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[Delpy and Hawke are] certainly accomplished actors; but to hold their long takes together, they seem to have been rehearsed to within an inch of their lives and, for all their charm and talent, are reduced to a kind of self-directed puppetry that leaves room for no spontaneity, immediacy, or surprise. Linklater’s extended takes are nothing but an ostensibly more authentic and less overtly commercial cinematic style that… is put forth as the bearer of a kind of aesthetic truth.
May 22, 2013
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Before Midnight—visually stunning, in a late-summer way—is more vital and cutting than another recent marriage picture, Michael Haneke’s old-folks-together death march Amour; it has none of Amour’s tasteful restraint, and in the end, it says more about the nature of long-term love. The unhappiness Celine and Jesse are working through isn’t what love becomes; it’s part of what it is.
May 22, 2013
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Do my eyes deceive me, or are many ofMidnight’s walks shot from behind, with Celine and Jesse on the verge of receding? That’s the subtle level this movie operates on, and by the time it arrives at its powerhouse climax, a ruinous argument in a hotel room where all lingering doubts are finally and furiously outed, there’s nowhere left for them to ramble. They’re pinned down and have to improvise, but this glorious movie has infinite space to roam.
May 22, 2013
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No couple’s all-out fight is ever this witty, this coherent, this impeccably timed. Hawke and Delpy inhabit these people so deeply that the wordy dialogue seems as natural as something overheard from the next apartment.
May 22, 2013
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Our protagonists openly cite Roberto Rossellini’s “Voyage to Italy,” also about a couple bickering while on vacation. Hopefully it’s not sacrilege to confess this is the more accomplished, more devastating, more knowing look at a couple on the verge of termination but, perhaps tragically, unable to stay apart.
May 19, 2013
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Together, the two principals show a nuanced understanding of their characters’ vulnerabilities and contradictions, having honed them over a participatory filmmaking experience spanning three decades… Although Before Midnight works as a stand-alone piece, one of the delights of seeing the three films together is realizing how much they echo each other. For instance, the “time machine” motif keeps recurring as a device for cheating fate.
May 02, 2013
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What the film lacks in technical ambition it usually makes up for in linguistic dexterity; this is still a resoundingly solid piece of craft, from a collaborative group that’s clearly invested in the development of this story. The lack of a defined visual perspective may leave things feeling slightly stagey, but the meticulous construction of these conversations, so loose and lively despite their airtight scripting, is enough for Before Midnight to feel like a major accomplishment.
April 24, 2013
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Never more attractive than when playing off each other, Delpy and Hawke have developed a remarkable actorly rapport which is, in a sense, the essence of the movie—although the subject of aging, at times played out against the ruins of the ancient world, imbues the couple’s riffs and squabbles with a potent wistfulness.
April 22, 2013
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It can’t be easy to make an engaging and energizing movie in which talk is virtually the only action, but these three have always had a gift for dramatizing the life of the mind and the emotional fluctuations of intimate relationships, and they’re getting better at it with age.
March 12, 2013
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Unleashing a stream of feminist consciousness that is both outraged and outrageous—and cathartic because we are laughing with her, not at her—Céline emerges as a 21st-century hero and Delpy as the Carole Lombard of our time.
March 01, 2013
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When, in Before Sunrise, Jesse (Hawke) is young and arrogant, Linklater and Hawke apply the deftest of touches so as to let us know that they know Jesse is exhibiting those flaws. But at the same time, the filmmakers are subtle enough not to signal that any sort of applied critical distance or ironization is the film’s overall purpose. These films are firmly rooted in sincerity, which I must admit is part of why I don’t really find them to my liking, especially Before Sunrise.
March 01, 2013
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Delpy and Hawkes are fiercely honest here, allowing their endearing characters to expose their worst qualities in addition to their best. Dominated by effortless long takes with pages and pages of dialogue, Midnight is as much a directorial triumph as it is a stage for its performers, with the graceful touches of beauty the director has always seemed to get away with without notice.
February 15, 2013
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While Midnight amply reminds one of why the series has long been catnip for those seeking genuine romance at the movies, on a purely emotional level it’s difficult not to miss the foundational ambiguity, and the fragile yet thrilling promise, of the previous films—as embodied in the sublime final shot of Sunset, the single most rewarding moment of the entire trilogy.
January 27, 2013
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‘Before Midnight’ becomes more interesting in a final section in which Linklater throws some shade on his story. The day begins to feel less like just another and more like a threshold in their lives, so justifying the ramped-up emotions and endless jaw-jaw. Luckily, Hawke and Delpy remain as charming as ever, and their combined goofiness is more endearing than annoying.
January 25, 2013
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Once again, the superbly matched Ethan Hawke and Julie Delpy resume their roles as peripatetic lovers whose relationship with each other and with the greater world comes alive through their prickly, often very funny and plaintively honest conversations.
January 24, 2013
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Before Midnight’s derives its success from the unsentimental alchemy of its frank dialogue, chemistry between its two leads, and Linklater’s deceptively simple visual style. Nostalgia isn’t just part of the film’s charm, it’s also its muse.
January 22, 2013
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The movie is the best entry of the bunch because it reflects change—their change, our change—in a way that honors these flawed fictional characters and real life without pulling any punches. It’s funny, touching and, in keeping with Linklater & co.‘s past attempts to mine the personal, all too identifiable. It’s also, inarguably, a masterpiece.
January 21, 2013
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