Film Review: "Before Midnight"

Film Review:

Before Midnight is riveting and completely absorbing film about a relationship—and about relationships. It’s intense because its superbly written, beautifully filmed, wonderfully well acted.

This psychological drama stars Julie Delpy and especially Ethan Hawke at the top of their game. Along with director Richard Linklater, Delpy and Hawke created the script, which may be the ultimate star of the show. A short soliloquy by a recently-widowed Greek woman is pure poetry, capturing the essence of love and resurgence of loss. The poignant refrain is, “we are just passing through.”

If you’ve ever wondered what a film co-directed by Woody Allen and Ingmar Bergman might look like—Scenes From a Marriage by way of Annie Hall—Before Midnight comes close to answering that question. At moments, too, this film might also remind you of a less raw Who’s Afraid of Virginia Woofe?—minus the alcohol-addled mortal combat.

Before Midnight is the third in a trilogy directed by Linklater which began with Before Sunrise in 1995. In that film, the young American Jesse meets the French Celine on a train; in the second, Before Sunset, they’re reunited in Paris after nine years. In this new release, nine more years have passed: Jesse’s son is entering high school, and he and Celine are an unmarried couple with twin girls. Although the kids don’t get much screen time, they’re fully present in the psyches of the couple, both of whom feel guilt about being “shitty parents.” 

The recurrent tension in the relationship stems from Jesse’s longings to be with his son in Chicago before it’s too late and Celine’s even stronger desire to remain in France, where she can pursue her career. Although Jesse doesn’t pressure her, she overreacts to the prospect of living in the US, letting fly a barrage of resentments, including trap questions and sexual humiliations. She often conjures feminist rationales for demanding her own way. For his part, Jesse relies on passive-aggressive moves, especially blatant condescension.

This is an important film because it so realistically captures so many relationships between professionals in which neither member is open to compromise. Nor is either partner particularly self-aware, so the predictable result is an ongoing power struggle. The viewer is invited to compare their careerism, privileged careers and lifestyles, fondness for male/female games, and sexualized notions of intimacy with the grounded widow, who recalls the simple joys of holding her beloved.

Given that the pair first met on a train and got off a train to have an affair, their sexual focus should not be overly surprising.

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Paul W. Rea, PhD, is a long-time lover of film art.