Hellen I like the storyline of this show,it attract me so much

SunnyHello Nice effects though.

Softwing Most undeservingly overhyped movie of all time??

Helloturia I have absolutely never seen anything like this movie before. You have to see this movie.

alex_gnr01 A movie worthy of thanks. Despite you know the path the events will take, these result very attracting and interesting. The performances are well obtained, I must say that Nina Hoss is an example of quality besides her beauty and the whole cast. The aesthetics in many shots combined with urban landscapes give it an almost surrealistic result. Small soundtrack but powerfull. I have not read other reviews yet but I think this is a great work from the german industry.

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.

suite92 Louise, Charlotte, and Nora kill and drink the blood of every one on a small exclusive jet. Then they jump out before the crash; nice touch.Next we get a look at Lena, a teen delinquent: pickpocketing, credit card theft and fraud, assault and battery on a policeman, evading arrest, underage drinking, vandalism. She evades policeman Tom after stealing the credit card of a Russian mobster whom Tom was chasing. Tom catches Lena, but she gets away from him again. Lena's mother seems to be intimate with Lena's current parole officer, which might keep the number of arrests down.The vampire women host raves to meet people who will not be missed, plus drinking and dancing. Louise is always looking for just the right pair of eyes; she likes Lena's, and lets her into a rave. Louise bites her in the ladies' room and Lena starts to change quickly, as in sunlight sensitivity the next morning, plus hunger for blood. She returns to Louise the next night. In passing they mention that there are only 100 vampires in the world, and all of them are female.After some enjoyment with the three older vampires, Lena makes the mistake of going home. Tom meets her when she departs from her mother. He promises not to rat her out about stealing from the Russian pimp. They go for a coffee date, and start getting to know each other. Tom can tell that something big has changed in her life, and it's not the new boyfriend that Lena claims.Tom starts investigating; Lena keeps learning more about the other three vampires. Tom and his boss set up an assault on the hotel where the vampires live. Nora is lost to sunlight, but the other three escape. Lena prevents Louise from killing Tom, which complicates things considerably.Charlotte says good-bye to her almost ninety year old daughter, who recognizes Charlotte before she dies. Then Charlotte traps Louise and Lena in order to die from the sunlight of dawn.So only the triangle (Lena, Louise, Tom) remains. How might that end?------Scores------Cinematography: 10/10 Excellent. Some of the better vampire healing FX I've seen.Sound: 9/10 Excellent save the dubbing, which is merely good.Acting: z/10 Karoline Herfurth was fine, basically playing three roles. I liked the performances of Nina Hoss and and Jennifer Ulrich as well.Screenplay: 8/10 A foot chase starts in complete darkness, but continues in full light. No, thank you. One strike on continuity. The rest of the story hung together rather well.

chicagopoetry Wir sind die Nacht (We Are the Night) is simply fantastic. It's scary, suspenseful, and funny in it's own way (sexy, lesbian vampires driving Lamborghinis and shopping after hours, for example), and the most original addition to the vampire genre since Let The Right One In. Controversial in many ways, this is the real deal. The story centers around a coven of four female vampires as their bond unravel when one of them establishes a relationship with a police officer. The film introduces some concepts that I've never seen in a vampire film, such as when one of the young looking vampires visits her elderly, dying daughter, or when another gets shot and then pops the bullet out of her chest. The musical score is exciting as well. I really enjoyed We Are the Night. Don't be fooled by the hokey DVD cover. This is a truly well made, bad ass flick.