We Are The Night (2011)
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as Detective Tom Serner
as Detective Lummer
as Lena's Mom
as Lena's Parole Officer
as Spusi Frau
as van Gogh
Critic Reviews for We Are The Night
A love triangle with fangs but no bite, the German import "We Are the Night" is mostly infatuated with its own stylish excesses.
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.
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.
It's stylishly constructed and a better feminist vampire yarn than Twilight, but still problematic in itself.
Audience Reviews for We Are The Night
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.
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.
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