Hell_Kitten Spoilers do not reveal major plot points or affect the integrity of the film. We Are the Night (German: Wir sind die Nacht) is a 2010 German vampire horror film directed by Dennis Gansel. German language with English subtitles. Also available in English without subtitles. I'm a lover of all things horror and have recently warmed to German films which made this combo a must see for me. The film packs some powerful punches as it explores concepts like youth, beauty, depression, self-harm, suicide, aging and the consequences of immortality along with Valerie Solanas' idea of an all-female society. These themes are wrapped so snugly into the film that it's revelations are practically seamless. At the beginning of the film we are introduced to lovely but lonely Lena (artfully played by Karoline Herfurth). She's a tough teen whose life is overshadowed by the cold despair, hopelessness and pointlessness which often accompanies abject poverty. Her life is dominated by negative interactions with male authority figures in the police, her parole officer and those she pickpockets on the streets. Her only reprieve from this desolation seems to come from escapism into the German underground. It is in one of these undergrounds where she meets Louise, the head of a 3 person pack of attractive female vampires. One is Charlotte, a breathtakingly beautiful former silent movie star who seems distant and removed from the world around her. The other is Nora, a cute and perky. young, hip raver girl with enough energy your head will spin just watching her as she parties her way from one scene to the next. Louise herself is a rather attractive and regal looking woman whose maker was killed by sunlight. Louise becomes consumed with the idea that somewhere out there her lost love and sole mate will be reincarnated and she will recognize her by looking deeply into her eyes. Incidentally, this plays nicely off the concept that eyes are the windows of the sole. But how can one know for certain it's their lost love with only a glance? You can't and thus Louise turns each girl who might be her lost love but inevitably finds they are not "the one" and so continues her search. Even though there's an inevitability to each new partner not quite meeting Louse's expectations she does not discard them upon this revelation. Choosing instead to collect and keep them like living photos of whichever century she steals them from. They remain at her side as immortal cohorts in crime.Early on in the movie, Louise shares the premise to their way of life with her freshly initiated young whelp, Lena. All of the male vampires were murdered by the females for being "too noisy, too greedy and too stupid."Upon first glance that might make the viewer draw the conclusion that this film is about misandry and those evil feminists plotting to take over the world. On closer observation though it proceeds to carry a completely different message, via multiple scenes in which the female vampires make any number of vacuous decisions, equal to, if not greater than their so-called "inferior" male counterparts. The takeaway of this film is a two-fold message; Men and women are equal in their more redemptive traits like selflessness, kindness and compassion. Scattered throughout the movie are small breadcrumbs alluding to this such as a rather poignant moment in which Nora is intentionally cruel when a sweet young bellhop who likes her, offers her a flower at the steps of their hotel. She tells him she'll have him fired if he dares ever speak to her again because she knows if she returns his affections it will lead to his death by her hands. Women are also equally capable of committing monumental acts of evil and cruelty such as when Louise, taking on role of mother and lover, dumps the vulnerable and ailing Lena at the feet of a human trafficker who intends to beat and rape her into "submission."It's the sum of these small scenes which add up to the breathtakingly big revelation that the female vampires inevitable outcomes are due to their own shortcomings of greed, carelessness and stupidity..the very (all too human) traits Louise earlier subscribed to as the reason for the downfall of their male counterparts. The ending, in particular, actually refutes any claims to be made for misandry both in the choices Lena makes for herself and the fate of the other vampires who have been subscribing to such misandry.Other interesting points:The original script for this film was written before "Twilight" but shelved for other projects until after "Twilight" came out. Due to the similarities between the original script and Twilight, Gansel had Jan Berger rewrite the script, now under the title "Wir sind die Nacht." It's loosely based around Carmilla and sanitizes out most scenes involving a romance between Lena and a police officer in favor of a love story between women.Heiko Maile was inspired by the score of the film "The Dark Knight" and how it combined electronic music with orchestra and electric guitar. Maile used "Au Clair De La Lune" as Charlotte's theme. Peppered throughout the film are other outstanding musical scores. Among them, IAMX's "Nightlife" and "Wir sind die Nacht" by Covenant. Well worth a purchase of the album for these two songs alone. Torsten Breuer's cinematography, Shot for shot, make this is a gorgeous film and a feast for the eyes. In a brilliant maneuver, Breuer and Gansel manage to make the vampires nocturnal world of night, wildly colorful and lush while simultaneously making daytime life seem cold, bleak and colorless.I highly recommend joining these fun loving and endearing homicidal psychopaths for a bit as they send you on a dizzying romp of action, gore and genuine drama.

Shadowplayed Germans have come a long way from Nosferatu to Wir Sind Die Nacht, but haven't lost their touch. Times are changing and changing some more, so this refreshing, modern take on bloodsuckers proves to be a worthy step in that direction. Berlin. We are introduced to cool, hip and large - living vamp trio: Louise (serious and older, alpha vamp...also, a lesbian) Charlotte (avid reader; moody and depressed former silent film star) and Nora (a quirky, jokey third member who loves a fling followed by a nice dinner: meaning 2in1) Soon after, Lena, delinquent girl, pickpocket coming from a broken home steps into the picture. One night she attends one of the rave parties our aforementioned trio throws regularly, and after the brief encounter with Louise, her life changes for good.In case you are thinking what I think you are...this is not, NOT German answer to most hated vampire saga in film history. But it does follow the formula which has transformed new vampires into human like, not-so mystical beings that raid big cities looking for fun and a good meal. We are The Night is beautiful to look at: high production, great effects and lots of fake blood so even the grumpy traditionalists shouldn't scoff at it. OK, so it does have some romance, all vampire films have romance! (one way or another) I was expecting nothing and was pleasantly surprised, but make no mistake: some people will rush to call it the best vampire film since Let The Right One In. It's not. As much as I wanted it to be a worthy follower.Immortality, good looks, money and glamour....who wouldn't want to trade place with them? So it's not all fun and games there is much needed "but", provided by some particularly emotional and tragic scenes with Charlotte (excellent Jennifer Ulrich) as central figure and nihilistic reminder how eternity can be unwanted and lonely place to be. HUGE complaint: Where's Rammstein in otherwise cool soundtrack?!???!But it's lots of lightweight fun, so easy 7/10

TdSmth5 In We Are The Night, a girl, Lena, living on the street and stealing catches the eye of a vampire queen, Louise. Louise is always looking for her soulmate and thinks she can identify her by looking at her eyes. Her previous conquests were Nora a fun young girl and Charlotte a classy girl.Also catching the eye of Lena is a cop looking to arrest her. But Lena outsmarted him and he fell for her. One night Lena is turned into a vampire by Louise and joins the group. The girls, immortal and rich, just live a life of fun, pleasure, and games. They race exotic cars in the city at night, go shopping in a mall all for themselves, dance in their club. Despite this life of opulence, Lena isn't all that thrilled about consuming blood and killing people. She does enjoy the powers of a vampire- super strength and the ability to defy gravity. But the cop doesn't give up and tries somewhat successfully to seduce her.This will lead to the cops getting on the trail of the vampire clan, which was responsible for massacring some mobsters.We Are The Night is a great title for a vampire movie, and the movie is also great. Unlike 95% of vampire movies in the last 15 years, it's not offensive to fans of the genre. It's a real cool, very stylish, and erotic vampire movie full of fantastic actions scenes. This day and age it's harder and harder to impress with action scenes but this movie does it. And the vampires, crawling, walking, and fighting on walls and ceilings looks excellent. The cast is outstanding. Nina Hoss' Louise in particular is very interesting, she's mature but attractive and has something animalistic about her. Anna Fischer's Nora is innocent, fun, playful, yet vicious. Jennifer Ulrich's Charlotte is distinguished and classy, she likes to smoke using cigarette holders and read books but is very deadly when necessary. This movie features the nastiest paper cut ever. Direction is first rate and the locations in and around new and old Berlin are quite unique.But unfortunately, We Are The Night has to take the moralistic turn 3/4 of the way into it. That's when the "good" guys catch up with the "bad" guys and you know the outcome. The editing cold have been better. The ending still is surprising and interesting but vampires have always been the more interesting and sympathetic characters than the regular and boring humans. This movie should turn into a franchise, not sure how, but fans of vampire movies deserve a We Are The Night II.

abisio Germans tried to create their own Vampire franchise with "We are the Night" with mixed results. Compared with any of the TWILIGHT movies; this looks like a masterpiece; but with really great movies like NOSFERATU (in any of its version) this is just a clichéd movie with a few original ideas.The most interesting things are dialogs which based on my very limited German and subtitles seemed really smart. Another is that even when vampires are only women and there is a lot of lesbian innuendo; the movie is far from exploitative. There is no feminine nudity, no sexual scenes and a very PC moral message (here, nobody is happy to be a vampire). Even violence in the movie is more suggested than shown (there are a few brief strong scenes ; but mostly for the surprise effect ) . Lena, a minor delinquent is converted by Lena; an old bored vampire looking for her great love. Louise has two other vampires girlfriends; all living like "Sex and the City" in Berlin. An excess of glamour and luxury just to cover their empty lives. Lena is not very happy with her unwanted changes; particularly because she has a certain interest in a policeman; something forbidden by Louise for two reasons; he does not want men and even less policemen. There is not much more happening. The first act is strong but after Lena conversion, the second act looks extracted from "SEX AND THE CITY". The drama could have been really interesting if we knew something about each woman; but aside from a few dialogs and little back story about one of them; the others are pretty much a mysteries nobody cares to solve. The third act is more action driven and it is very effective with just the necessary amount of special effects in order to get things realistic. In brief; it is not a bad movie; but considering it comes for the country that re-invented cinema and the vampire genre; it is below expectations.