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

Admirable film.

The film creates a perfect balance between action and depth of basic needs, in the midst of an infertile atmosphere.

Each character in this movie — down to the smallest one — is an individual rather than a type, prone to spontaneous changes of mood and sometimes amusing outbursts of pettiness or ill humor.

For two whole hours, nothing happens in this movie. It is full of completely pseudo intellectual conversation that doesn't lead anywhere. Don't be like me and waste your time on this movie.

Because of the great reviews, I expected a profound film that delved into the emotional life of two, long-married people struggling with children, work, and life. What a mistake! Very superficial story line, where we are tortured into seeing two people bickering through the whole film without feeling connected to why they are so bitter and arguing; except that they are.How many writers do most of us know or people who have the time, money, and luxury to travel back and forth to Europe? I don't know about you, but I can't recall the last time I could afford a vacation or even a motel room for that matter. Conversations in the film are so contrived like the characters that no one can take either the characters or the lines they utter as realistic. Discussions on pop culture, politics, and feminism are discussed on the most superficial levels possible. For example, Celine hates her job, but argues about the importance of a woman having a job, because it's empowering? First of all, most women don't have that luxury; economically they are forced to work. Second, who argues that having a job that you feel exploited and hate is empowering? Gorbachev as an amazing statesman. Really? Wasn't he the charlatan who argued against the affordability of bread, destroyed the Soviet Union, and prostituted himself in Louis Vuitton commercials. If the writer had delved a little into politics beyond the superficial headlines maybe he would have known something about Gorbachev. The only likable scene in this whole film is at a banquet among friends. It is the only time you hear any meaningful or interesting banter and dialogue. Thanks of course to the writer ripping off lines from Bergman's film Private Confessions. My recommendation: don't rent this film unless you are a masochist.

When you feel compelled to write a review (it's 00:40am) you know the film has hit you hard. I was astounded at the sheer realness of the way these films are presented. Real time, long shots, conversational dialogue, absence of plot, real locations. The films are one long conversation between two characters but it's just so engaging on a variety of levels. First the performances, which are made with such depth and magnitude. The chemistry between Hawke and Delpy is astonishing. It truly is hard to believe their not in love, although I'm sure there is love between them. They have a mutual respect for one another that really shows. You can feel the tension between them radiating off screen at times which makes the believability unquestionable. The writing is so rich with matter yet so naturalistic and justified. I was amazed that the basis of the trilogy was walking and talking, yet what Celine and Jesse talk about sums up, to me, everything life musters. And then add in the actual story these two characters share and Linklater has captured the complexity of life in a way I've never seen before. It's painfully real. There were so many subtle parallels within the writing which symbolised the 'passing through time' concept. Each scene ignited a sense of wonderment within me, causing me to ponder over my life showing the universal themes buried within the text.I watched the trilogy within 24 hours because I just found the whole piece of work to be utterly refreshing. Be warned, there is no fairy tale within this utterly romantic yet, painfully honest exploration of the paradoxical nature of life, love and people.

One of the initial shots of Before Midnight is not something that has been seen before in the trilogy; the camera swings around to reveal the family that we have been anticipating since 2004, twin daughters sleeping in the backseat. The camera had been mostly static previously, capturing the couple as they walked aimlessly and talked endlessly. The settings, Vienna and Paris, were beautiful and exotic, but they would have fallen in love in any city in the world. It does not look cinematic, and yet that initial shot at once conjures up so many questions of this new chapter of their lives. This time, they vacate in the southern Peloponnese and it is just as stunning, but there is nothing blissful about the experience, and the most riveting scene takes place in a shabby hotel room, where Linklater swaps the iconic medium two-shots that have been pervasive throughout the trilogy, unblinking in their long takes, with shot-reverse-shot, and cuts up the space between the couple as they argue. It is not until the final shot that Linklater really uses the setting, and we dolly back to unveil the shimmering ocean and gorgeous harbour-side twinkling in the night. There is another distinct break from tradition; whereas Sunrise and Sunset almost exclusively featured only Jesse and Celine, madly falling and re-falling in love, Midnight has a cast of other characters, and it is here that it slightly falters. For all the philosophical musing and long-winded anecdotes about love, they feel like ideas and conversations for our main characters, but instead of trimming sensibly, they have been reintroduced into the dialogue of others. It is easy, for example, to compare the wide-eyed, lovestruck experiences of the young couple to another young couple that met on a train all those years ago. And when Xenia Kalogeropoulou heartbreakingly reveals that she is forgetting the little things that her late husband used to do, and how it is like losing him all over again, it feels a lot like Celine's monologue in Sunset, where she ends with one single clear memory: the red in Jesse's beard. These feel less like fully realised supporting characters, and more like younger and older versions of Jesse and Celine. But returning to the pair reveals a deeper and more mature narrative yet. Sunset ended on a magnificent cliffhanger, but we all knew that the heartbreak of the missed opportunity was too great, and that they would not let another chance slip away. They have twin daughters. Celine's accent comes and goes but has noticeably faded. Jesse's novels are now famous enough to be recognised by Greek receptionists (and this creates probably one of the best and more subtle scenes of the movie, where Celine is visibly bothered by being placed in a little box and designated as a character in Jesse's life - I have no doubt that the Madeline version of Celine is fully realised, successful and happy - moreso than Celine anyway). When they rewind time and talk of that fateful train encounter all those years ago, it is startling how different they are now; Jesse hesitates just slightly when asked whether he would act the same way, and it is clear that Celine is no longer that radiant, carefree muse that caught his eye so long ago. And then there is perhaps the finest scene in the trilogy yet, which physically separates the pair within the frame and has them explode over each other's dialogue. There is so much raw emotion that spills from their mouths, but I think it is not overly vicious for the sake of hurting the other person. Like the back and forth pinball conversation in Vienna, it is defensive; they each attempt to explain their own perspective and their own feelings on juggling the various responsibilities of their chaotic lives. It is easy to write an argument and have two characters drown each other out in their anger, but in this case they pounce onto every word, broken promise, illogical leap and change of opinion, and throw it back into each other's faces, trying to gain an edge. Every phrase is twisted and extrapolated to its extreme, all except one; when Jesse confesses that he 'ruined his life' for her singing, it is such a clear opening for Celine to attack and tear down his arguments on how committed he is, but she relents, possibly because she thinks their relationship is still worth saving. He too, does not explode when she hangs those fatal words in the air and admits she does not love him anymore, because he is not so sure he is ready to believe it is over. The previous two films feel like daydreams compared to Midnight. A fresh-faced youthful Jesse described love as an unselfish, giving and beautiful thing. But it is clearly not as easy to say that when juggling such an emotionally painful predicament like their's. In the midst of their argument, there is a moment of such startling and brutal honesty. Celine confronts him with accusations of an affair from long ago (and I am sure that this is not the first time it has been brought up), and Jesse does not outright deny it, but adamantly reaffirms his love and commitment to her. It is so brilliant because we believe his lifelong commitment, but we also know that the affair has happened and has lingered over their relationship ever since. Infidelity is something that is so often treated as a comedic device in movies, but it is so easy to forget that it is a very real thing in many real life relationships. Here, we trust that their bond is strong enough to withstand such an affair, and move on from it. The red in his beard may have vanished long ago, but their love has matured and learned many lessons.