Overly reliant on a weak lead performance, it drags so much that you’re left almost wanting the bomb to go off.
Day Night Day Night (2007)
Runtime: 1 hr 34 mins
Synopsis: A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with no accent; it's impossible to pinpoint her ethnicity. We never learn why she made her decision -- she has made it already. We don't know whom she represents, what she believes in - we only know she believes it... A 19-year-old girl prepares to become a suicide bomber in Times Square. She speaks with no accent; it's impossible to pinpoint her ethnicity. We never learn why she made her decision -- she has made it already. We don't know whom she represents, what she believes in - we only know she believes it absolutely. The film strips the story down to its existential core. It focuses on microscopic movements, the smallest gestures, an economy of banal details. Inspired in part by a story in a Russian newspaper and playing off a history of Joan of Arc films, the film transpires on the girl's face. The minimalism of the face is confronted with the visual and aural noise of the city. Faith comes face-to-face with the possibility of failure. --© IFC Films [More]
Genre: Dramas
Starring: Luisa Williams, Josh Phillip Weinstein, Gareth Saxe, Nyambi Nyambi, Tschi Hun Kim
Reviews
The Day of the Jackal meets The Rapture in a bathtub full of barbiturates.
den dikaiologei bebaia ton enthoysiasmo me ton opoio petaksan tis kilotes toys arketoi fanatikoi tis afairetikis kinimatografisis ana ton kosmo toy anaksartitoy, alla oyte prepei na perasei aparatiriti, esto kai san sporadika epityhimeni kai akribis.
It is small of scale, budget and even of intentions. But like any act of the unthinkable, it looms large in the imagination.
Unfortunately this portrait of a young woman on the eve of her first terrorist foray -- a bombing of Times Square -- replaces the knee-jerk patriotic bluster of Hollywood films with its own postmodern cliches.
The kind of movie that is far more interesting and edifying to read about and discuss than it is to actually sit through.
In striving to nail down every excruciating detail of how an attack might take place, Loktev squanders forward momentum.
For 94 mesmerizing, narratively minimalist minutes Russian born filmmaker Julia Loktev pushes post 9-11 buttons. The result is a masterfully crafted exercise in dread unlike anything you’re likely to have seen before.
The film is beautifully built and has moments of terrifying tension. If it can't quite find a way to end, it nonetheless makes vivid work of the time it takes.
An unflinching look, uncomfortably up close and personal, at a young woman determined to go through actions that we know must end badly.
The film's format and style dictate that she has to hold our interest throughout, sometimes without dialogue.
Julia Loktev's movie never explains the suicide bomber or makes her strange in order to ease your own mind. Rather, it makes you nervous both for and about her.
All in all, it’s a creepy subject for a movie -- especially when there is no payoff at the end.
For something completely different, controversial subject matter (New York bombing) combines with seamless set/surroundings to project a set of abstract images and a marginally successful experimental adventure.
Efforts to universalize this story by avoiding specifics ends up making Day Night Day Night broad and blank, reducing the lead character to one more generic nutcase for us to fear and pity. And isn't the anonymity of bombers precisely the problem?
Day Night Day Night brings plenty of shakycam immediacy and a cute face to what seems to be zero point of view.
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