Before Midnight

Time is a consistent fascination for Richard Linklater. Friend or foe, time in his films is always depicted for being the most humanizing aspect of life—which it is. Everyone seem lost in its evanescence, compelling transports away and back to the present, and daring to bend its ephemeral and often antagonizing nature. It is a formidable arrest; an interesting conundrum, this cloaked stranger we know of as time, which is what makes it such an enabling feature, and in the first place, what presumably interested the auteur.

I’m set in the notion that Linklater (who essentially have been telling through his films an autobiography), is onto the inevitable dulling that comes with maturity late in one’s life. His 1995 film of romantic pursuit, Before Sunrise, leading a chance encounter between two young lovers who fall despite obviously differing ideals (for starters, and it’s important that this not be misconstrued: he is American; she Frenchwoman), is far off-set this notion, on account of the many years that have passed by. Both in their forties in the beginning of Before Midnight (’13), Jesse (Ethan Hawke) and Celine (Julie Delpy) seem to have let the sparks die with age. Gone is the euphoria of surprise of finding out more about each other; and gone, too, is the naiveté, the two becoming unable to slip through the narrowing alleys of conning one another.

Eighteen years into their encounter, they come past listing what makes things fit, but what things are worrisome and might conflict their bond. In simpler terms they sniff on each other’s bullshit. This is resonant in the film’s most endearing scene, where the couple converses while walking in the Southern Peloponnese, Celine inquires about their serendipitous meeting in that Parisian locomotive almost two decades, now seeming uncertain (and although jokey about it) if Jesse’s time machine is truly worthwhile trouble.

It is through these conversations that they mess with time, which as it is to all, has not been exactly good to them. We learn in the same conversations that not everything turned alright. With these talks they revisit the past, go to the future and back, the same way a touch enables one to leap through time, as exhibited, to cite a recent and native example, by Jerrold Tarog in his film Sana Dati (’13). It is less a “curse,” than a mere loop in which they find themselves entrapped. The future they yearned and feared for in Before Sunset (’04) they are living now, and yet again, we see them do the same thing, only with a different backdrop, a more complex situation and entirely washed-up expectations.
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Hawke and Delpy share with Linklater two thirds of the writing credit. They provide this sense of harmony that each statement their characters make feel tinged with the two-faced rationality of their young selves (his condescendingly macho, her politically-charged moralist), and a cinematic experience that is rendered with purity in both the film’s visual and auditory aspects. I guess what I am trying to say is that they make this beautiful music as Jesse and Celine. That even upon reaching a seeming impasse, and finally resting on the promise of irresolution, they still make a distinct sort of melody—a singular moment of spontaneity, Jesse delivers a made-up mail by an imagined Celine from the future. Thereupon the three redirects them to expectations that are more appropriately jaundiced, a disillusionment of the future they once dreaded and desired. I cannot close the next nine years for Jesse and Celine, but if Linklater’s Before series is intended as a triptych addressing perception, time, and perception of time, Before Midnight makes a perfect end-note.

https://www.youtube.com/watch?v=djbyv1AV588