We Are The Night (2010)

The vampire faction in horror is one that very easily becomes stale. To try and invent new scenarios for a creature with a fairly limited capacity is difficult and now anyone who endeavours to make a vampire movie must try and think outside the box. We Are The Night or Wir Sind Die Nacht as it is called in its native German does just that.

Louise (Nina Hoss), the head of a trio of female vampires is looking for someone special. After losing her love many years before, she has scoured the world in a search that yielded her current companions Charlotte (Jennifer Ulrich) and Nora (Anna Fischer) but not the person with that special something in their eyes that she seeks. Lena (Karoline Herfurth), a petty criminal in Berlin happens upon a club while wondering the streets and Louise instantly takes a liking to her, eventually biting her. As Lena begins her transformation she approaches the trio for answers and they must take brutal methods to show Lena that they are not lying and she has received “the gift”.

Lena get swept up in the decadence of the ladies lifestyles consisting of sex, drugs and depraved parties. Louise’s affections for her become more intense and trouble starts to brew when lonely policeman Tom (Max Riemelt), who had previously had a run-in with Lena, starts to express an interest in her too. As Lena starts to discover her new families’ bloodlust and cruelty she starts to distance herself from the group and as the bodies start turning up all over Berlin due to the women’s carelessness the police begin to catch their scent. As their lives start to unravel around them they have no choice but to run, but Lena has other ideas.

This films strength and uniqueness is in its characters. Each one has clearly been carefully plotted and once the facade we see at the beginning of the film starts to slip, we are allowed in insight into their fears and insecurities giving them a human element that is a stark contrast to their vampire instincts. The most fascinating character is Charlotte who was a film star many years ago before Louise turned her. Always deep and thoughtful, she seems to want to test her immortality with longing looks at the sun as she begins to smoulder. Even after all those years she still feels the pain of having had to leave her daughter and a scene towards the end of the film in which this theme is explored further is surprisingly heartbreaking.

The development of the love story between Lena and Tom is scant and does not overtake the story so it works well. Tom is sweet and charming but clearly very lonely and Lena is naturally wary that she will not be able to control herself, so tries to put him off. This role reversal is one that’s fascinating, in fact, in the world of this movie there are no male vampires; the woman are strong and in charge.

We Are The Night gives you a deeper insight on what it really means to be a vampire underneath the glamour and immortality. If anyone says it’s a. like Twlight (preposterous) or b. trite then I say give it a go for yourself. When I finished watching it I immediately want to press play all over again and spend another hour-and-a-half immersed in these fascinating women’s complicated and somewhat tragic lives.

Score: 666/666

Video sourced from Youtube


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