We Are the Night isn’t a particularly original take on the vampire movie and falls into the too cool for school trap of not using the word vampire. It does however have a certain charm that makes it worth watching. A stylish look and a suitably melancholic tone reminiscent The Hunger (1983) make it an enjoyable watch.
The opening credits feature a montage of images starting with from colour photographs then black-and-white ones and finally paintings. The pictures depict key moments throughout the history of Germany going back three hundred years. Each image features the same blond woman who has witnessed it all through the ages. Cut to present day, three female vampires are on their way home to Berlin from Paris living out a decadent, hedonistic and bloody but ultimately empty lifestyle. Louise (Nina Hoss) the leader of the group is looking for something, more precisely she is looking for someone. She thinks she has found that in young petty criminal Lena (Karoline Herfurth).
In a lot of ways Charlotte (Jennifer Ulrich) is the most interesting character (An actress from the silent era, she appears to have appeared in Dr. Mabuse: The Gambler (1922)) who has grown tied of the lifestyle and longs for the daughter she had to abandon when she became a vampire. It is however a character we have seen many times before, most notably Louise (Brad Pitt) in Interview with the Vampire (1994). She doesn’t provide the same conscience that Louise does in Interview with the Vampire, but does help ground the characters and with it the film. According director to Dennis Gansel, the three initial vampires each represent a time key times in German history: Louise, the lat 1700’s, Charlotte the 1920’s (the golden age of German cinema) and Nora the 1990’s after the fall of the Berlin wall. The era they are all from is mentioned, but it goes beyond this, the characters retain.
Like The Lost Boys and Near Dark (1987) the movie introduces an established “family” of vampires just as a new member is reluctantly recruited. The rebellious nature of the character belies her humanity, as this manifests itself she threatens the existence of the family. Although all the usual ideas are explored, Ultimately the potential downfall of the characters isn’t a noble redemption or the despair folly of unrequited love, it is simply the emptiness of their lives. This is as bigger message about today’s modern disposable society as any of the historical ideas in the movie.
With its lack of original ideas and the fact it is subtitled means that it is never going to be a film for everyone, however for fans of the genre it is better than a lot of the English langue vampire movies that have jumped on the Twilight/Underworld bandwagon.