Ending the trilogy started in 1995 with Before Sunrise, the ultimate movie of this history, Before Midnight, which debuted last year, came to us to say: the life is possible! Following the same language of the last two movies (I must mention Before Sunset, 2004), however, this one has particularities that are really significant.
Before I start to weave comments about the film, I would like to inform that, for not being able to disassociate the narratives of each movie among them (I really believe that, in fact, each “Before […]” is just a stage of a bigger story, that is more significant than every alone. We cannot forget that, passing through the movies, we discovered things covered in the past), to inform that I intend to meditate about Before Midnight only in association with its two last brothers.
Midnight, how was easy to predict, is about how is the relationship between Celine and Jesse past nine years after the last movie, B. Sunset (like this one, that was nine years after B. Sunrise). We find out the two characters are married and they have two daughter (twins!). They are having a holiday in Greece, in the house of a Jesse’s friend. With them, there are more two couples and two people that have had passed through a marriage experience. I guess these people, couples in different stages (lovers, marrieds, with children and widowers), are at Midnight just to makes us think about that each kind of relation (I mean, from the most opened to the most serious) have his problems and advantages. Midnight is about an more mature stage of relation (and this does not need to say an marriage).
Richard Linklater (director), this time, catch me at all. Ethan Hawke and Julie Delpy, who interprets the central characters, had never transited between drama and comedy in such a lot of times and with such an elegancy and divestiture that, until in the more relaxed scenes, we are not able to not to recognize a serious atmosphere. There is always a feeling that something is going to break, to explode – and, when this comes to happen, with a strong agitation, we, spectators (now not the own characters), find out reasons to fall in laughers. I think is easy to find ourselves realizing us analyzing the scenes with distance, thinking: “they (Jesse and Celine, the central characters) are not discussing due that fact, aren’t they? Oh, really?!”.
Like in the other two films from the trilogy, Midnight has important and beautiful dialogues. However, it is not always Celine or Jesse who speaks to us (and not the camera too [laughers]!). This movie give us more characters. And they gain space in the story, what did not happened in the last Before’s. This fact, adding to the camera takes more scenes in what Celine and Jesse are not together, say to us that the life is not so romantic, like Before Sunrise (the first from the trilogy) made us think. But Midnight either shows us the things are not so bad like in Before Sunset [two significant titles, don’t you think?]. This last movie of the trilogy is more realistic, with moments that are more possible. When I say possible, I mean moments that we are able to pass in our life (the places where the scenes happen is an example; I think is more easy finding myself discussing in a market than meeting a stranger in an train, talking to, falling in love and walking with him). Midnight make us thinking about the life is not so bad that we cannot be happy, but not so good too, because we are going to find stones in our road. The big center is that are exactly we who put this stones and, furthermore, throw them away.
Midnight is the most beautiful and matured film from the trilogy, and we go out from him holding a comfortable feeling that say to us: yes, although we had discovered, in our path, the life is harder than we have thought, it still can make us happy, still can be pleasant: “if there’s any kind of magic in this world”…
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