Before Midnight

Julie Delpy and Ethan Hawke’s romance hit my life out of the blue. I actually entered the story at a moment when they met for the second time, supposedly by coincidence and again in Paris. Yes, I didn’t have the honor of watching their first meeting after I saw this one. On the other hand, I believe that I got quite far when it comes to intimate discussions and I managed to catch a lot from the things that happen in the movie. Unfortunately, I simply can’t give it more than four stars. I think that maybe a woman would appreciate this part more than a man. Whatever is a victory for the lady in this movie is a challenge for the man. And I’m talking about relationships. And in this one, Julie does it several times. The opening part of the movie seems like pure bliss, especially that endless scene in the car. Then you get another great scene at the Greek lunch and in the end it’s all ruined by the night at the hotel. I don’t know why and I don’t want to be a male feminist, but it’s always the guy who’s at fault. Why is that? Anyways, Greece doesn’t get any sexier than it is in this movie. I’m really glad that even a couple of Americans, or rather the authors of this movie understood that Europe can be pretty amazing. (29/12/2013)

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%. (18/07/2018)

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. (18/07/2013)

In my opinion the weakest installment in the entire trilogy. There’s no shortage of strong moments, and the chemistry between the two main protagonists still works, though it must be stressed that it is different from the previous installments. As I began with my criticism of Celine in my review of the previous installment, here I have to multiply it. There is no doubt that they are both in a very difficult life situation, which of course has a huge impact on how they function and "get along" with each other. I am not their age (at the time of writing I am a fresh-faced 29), but my life belief has always been and will always be that both partners should first and foremost help each other, support each other, and overcome obstacles together. I respect doubt, insecurity, searching – all those toxic feelings because I occasionally have them too (as does everyone). Personally, though, I have a problem with those doubts escalating into treating the other person in the couple like dirt. I dare not say whose side was at fault in this case. You can't anyway. But I see the starting point as finding a common solution and supporting each other, because that's how I think relationships should be. I'm certainly not selling a recipe for a happy relationship here, because I don't have one. It’s a hat trick, Mr. Linklater (wow the first time, bravo the second). (21/12/2017)

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. (17/10/2013)