Before Midnight

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. (06/24/2013)

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%. (07/18/2018)

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. (10/17/2013)

Life has consequences, that's just the way it is and we can't do much about it. We see this clearly in this amazing couple, whom we have met for the third time. Jesse and Céline are married, which is a pleasant realization, but gradually the romance that was associated with their first and even second meeting has disappeared from their shared life. They are used to each other, they have their problems. That's just life. Nevertheless, it's still enjoyable to watch and listen to the two of them because this is the most beautiful aspect in all three movies. Julie Delpy and Ethan Hawke simply fit together, whether they are in love or a little frustrated with life. They are such a perfect couple that one wonders why it's not the same in reality. Will we see a fourth installment in nine years? (12/04/2013)

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. (07/18/2013)