We Are The Night


We Are The Night

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Total Count: 16


Audience Score

User Ratings: 6,741
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Movie Info

Dennis Gansel, responsible for the hit The Wave, explores night time in Berlin to find a sect of seductive lady vampires that hide out in the city's alternative clubs and enjoy the luxury and pleasures their attained immortality provides them. A stylized vision of female vampirism, closer to films like The Hunger or the TV series True Blood than to Twilight, We Are the Night differs from other films present this year in Sitges because it gives the myth an image of sensuality, charisma and attraction, playing especially on fascination for the night. A fascination that Gansel uses almost paroxysmally to exploit the German capital's nighttime atmospheres. -- (C) IFC Entertainment


Critic Reviews for We Are The Night

All Critics (16) | Top Critics (3) | Fresh (10) | Rotten (6)

  • A love triangle with fangs but no bite, the German import "We Are the Night" is mostly infatuated with its own stylish excesses.

    May 26, 2011 | Rating: 2/5
  • Stylishly reinvents juvenile pulp with flashy pyrotechnics.

    May 25, 2011 | Full Review…

    Ronnie Scheib

    Top Critic
  • Gansel compensates for the story's lack of emotional heft with rousing chase scenes and impressive, near-poetic CGI set pieces, and works in a sly suggestion that vampirism is the ultimate expression of consumerist indulgence.

    May 24, 2011 | Full Review…
  • We Are the Night never quite hits the right spot. It has plenty of clever moments but it neither provides the requisite entertainment or emotional heft.

    Feb 4, 2019 | Rating: 2/5 | Full Review…
  • an odd - and therefore interesting - blend of genetic elitism, feminist emancipation and rave-culture hedonism, where oldworld bloodlines leave a trail imprinted in the postmodern age - all wrapped in a slickly stylish audiovisual package.

    Aug 31, 2012 | Full Review…
  • It's stylishly constructed and a better feminist vampire yarn than Twilight, but still problematic in itself.

    Aug 28, 2012 | Rating: 2.5/5 | Full Review…

Audience Reviews for We Are The Night

  • Sep 06, 2013
    Directors C Super Reviewer
  • Oct 03, 2012
    The German vampire thriller We Are the Night takes an intriguing and refreshing look at the genre. The story follows a young delinquent named Lena who's chosen by an elder vampire to a join her coven of sister vampires. The directing is quite artistic and delivers some amazing scenes. And it presents an interesting mythology, where vampirism has turned into a matriarchy that is tightly controlled. However, the storytelling doesn't live up to ambitions of the film; leave a lot of territory unexplored. Yet, We Are the Night is an exotic and stylistic film with a compelling story.
    Dann M Super Reviewer
  • Jul 26, 2012
    <B><I>Wir sind die Nacht</I> AKA WE ARE THE NIGHT (2011)</B> WRITTEN BY: Jan Berger, Dennis Gansel DIRECTED BY: Dennis Gansel FEATURING: Karoline Herfurth, Nina Hoss, Jennifer Ulrich, Anna Fischer, Max Riemelt GENRE: <B>VAMPIRE</B> PLOT: <B>A novice jet-setting vampire struggles with the challenges of immortality, the politics of her new bloodsucker pack, and pursuit by the authorities all while being caught in a bisexual love triangle. Derivative, but well done.</B> COMMENTS: Oh no! Not another vampire movie! A certain franchise has popularized the entire vamp genre. Suck-cinema is cascading out of the studios faster than blood spray from a bitten jugular. Right up front let me warn you that there is a dreadfully dubbed version of this slick German movie. Raise your standards. Be sure you find the English subtitled relase instead. The chic optical signature of the production is made visually destitute by dialogue that doesn't synch up to speech. I groaned when I saw the Wir sind die Nacht poster, and sized it up for a Twilight-style chick-flick perpetuating the myth of women's domination over men. My prejudice was soon remedied. Wir sind die Nacht opens with a scene of carnage aboard a mid-sized private jet, where slumped, vacant-eyed passengers sit drained of blood. The three vampiresses responsible, all pretty, dainty and fashionably attired, have a moment of small talk before abruptly smashing out the emergency door mid-flight over the glittering Berlin night-scape. As lights go haywire, debris flies, and the invading slipstream creates an out of control, mayday bedlam of doom in the passenger cabin, the sanguine tempests throw themselves out into the moonlit sky as it rushes past the portal at 400 miles per hour. Wow! Wasn't expecting that! With this initial sequence, the filmmakers hooked and kept my attention for the remainder of the movie. The story itself is not unlike what you'd expect. It lies someplace between the lesbian themes of the old Hammer Karnstein trilogy movies and the vampire-loves-mortal romance angle from every night-walker flick since Dracula. Other familiar theses include love triangles and the immortal sadness of seeing beloved mortals age and wither while vampires remain forever youthful, (think Interview With The Vampier); the chic club scene all hip, modern day, bloodsuckers crave, a movie trope established by Blade; and a bit of femme melodrama right out of Sex And The City. Skillfully marrying these elements to stylish sets, costumes and camerawork however, the filmmakers manage to assemble it all in a way that is as fresh as the sum total of these highly derivative elements allows. The result is slick, visually impressive, and reasonably entertaining. The setup is this: A threesome of jet-setting, euro-trash vampiresses "recruit" some fresh blood, Lena (Herfuth,) because the vampy alpha girl of the terrible trio, Louise (Hoss), thinks Lena is the reincarnation of her long lost lover. Lena meanwhile, has a crush on a police officer who is hot on her trail for larceny. Lena must learn how to adapt to her new body, physical needs, and shadowy circumstances while deftly managing the politics of her sanguine guild. At odds with the authorities because they kill for blood, the rapacious quartet scrambles to stay several steps ahead of perpetually pursuing police. Feminist themes arise when we learn that all modern day vampires are women, the men having been killed off long ago for being too bossy. With their new-found liberation the fairer undead are free to pursue lofty intellectual goals, rising to the tops of their respective fields in the arts, literature and academia. Just kidding. They spend all night every night wearing Madison Avenue fashions, boogieing in dance clubs, sniffing coke, jaunting up walls and across ceilings, swilling chilled blood from fancy vodka glasses, and screwing men to death -literally. In fact, the nightlife sequences become a bit tiresome as Wir sind die Nacht spends its first thirty minutes establishing that today's swank children of the night really know how to get down. Yes, it's true: amps party in style and wallow in excess, free from consequence. We get it. Once the fast-lane tawdriness is established, Wir sind die Nacht 's plotline becomes more interesting as the existential ramifications of her involuntary induction into the undead begin to dawn on Lena. Wir sind die Nacht hedges here however, stopping short of becoming a darkly brooding drama. Introspection turns to melodrama when Lena finds herself torn between bloodsucking suitor Louise, and warm-blooded beau Tom (Riemelt), the detective pursing Lena for pickpocketing and grand theft auto. By contrast, along the way we also encounter the standard feminist theme of women rejecting male control and instead dominating men. Add to this the tried and tired standard vampire movie contemplation of physical and philosophical reckoning with the (in)human condition. Instead of pursuing more thoughtful angles, the filmmakers thrust in high speed action thrills reminiscent of a leather cat-suited Angelina Jollie karate kicking, and race-car careening her way across the screen in Salt. To its credit at least, the characters in Wir sind die Nacht are mildly interesting, the chases exciting and the bloodletting delightfully scary. Ultimately though, the effect is insufficiently-developed drama, and not enough action for the film to stand on its own in either genre. This leaves the viewer somehow insatiated and the ambiguous, open end (which raises the squeaky casket lid to, how convenient, a sequel) leaves us a little perplexed, We wind up wondering, "what was that all about?" Despite its lack of pensive insight, and groundbreaking paradigms, Wir sind die Nacht is certainly engaging. With a kinetic, stylish visual footprint, and plenty of morbid eeriness from start to finish, Wir sind die Nacht is a good pick for any blood thirsty fang-movie fanatic I give it seven out of ten pints of blood.
    Pamela D Super Reviewer
  • Jan 22, 2012
    Vampire films are ten a penny these days. But it's not all the same old crap over and over again. With vampire films, I think you just need to find the right balance between emotional moments that humanise these monsters, and those awesome cool moments. We Are The Night does pretty well in both departments, even if it is in favour of action. The first scene had me absolutely hooked. The camera pans around an airplane where all the passengers and crew have been killed. Still alive are three attractive women that soon reveal themselves to be vampires. After a bit of fun, they open the airplane door and dive out mid-air. From there we are introduced to Lena, a young criminal that soon finds herself involved with the vampires. Unfortunately for them, just before Lena is turned, she catches the eye of a young policeman that's interested in her. Like all vampire films, it starts by showing the luxurious excess. Clubbing, drinking, sex etc. But at the same time the film uses the character of Charlotte as an antidote to all this. She obviously suffers from depression. As the gang go out shopping, she stares longingly at some baby shoes. She also stands in the sunlight causing herself great pain. This character encompasses the strongest emotions, and counteracts the action nicely. We also have Louise. A lesbian vampire that is in love with Lena and feels jealous about Lena's crush on the young cop Tom. It shows that no longer how long you live for, certain human emotions are unavoidable. Towards the end it goes for all out action. With SWAT teams, prison breaks, and a beautifully shot fight that has the vampires moving all over the walls. The music was also enjoyable, but the amount of nightclub scenes did get tiring. Just one less could have made an improvement. We Are The Night is a string Vampire film, with stunning locals and excellent pacing. It was great seeing these girls have fun in a woman only vampire world. Another great example of Gansel's talent.
    Luke B Super Reviewer

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