Wir treffen Jesse und Celine neun Jahre später in Griechenland. Fast zwei Jahrzehnte sind seit ihrem ersten Treffen auf dem Zug nach Wien vergangen.Wir treffen Jesse und Celine neun Jahre später in Griechenland. Fast zwei Jahrzehnte sind seit ihrem ersten Treffen auf dem Zug nach Wien vergangen.Wir treffen Jesse und Celine neun Jahre später in Griechenland. Fast zwei Jahrzehnte sind seit ihrem ersten Treffen auf dem Zug nach Wien vergangen.
- Für 1 Oscar nominiert
- 20 Gewinne & 63 Nominierungen insgesamt
Yiannis Papadopoulos
- Achilleas
- (as Yannis Papadopoulos)
Athina Rachel Tsangari
- Ariadni
- (as Athiná-Rachél Tsangári)
Yota Argyropoulou
- Hotel Clerk
- (as Giota Argyropoulou)
Tety Kalafati
- Air Stewardess
- (Nicht genannt)
John Sloss
- Airport Traveller in Opening Scene
- (Nicht genannt)
Handlung
WUSSTEST DU SCHON:
- WissenswertesEthan Hawke described Before Sunrise (1995) as a film about what might be, Before Sunset (2004) as a film about what could or should be, and Before Midnight (2013) as a film about what is.
- PatzerDuring dinner Ariadni is taking photos of Celine and Jesse and we can hear two snaps of the shutter in a row but the camera is a Leica M6, which has to be wound on after each shot.
- VerbindungenFeatured in ReelzChannel Specials: Richard Roeper's Red Hot Summer (2013)
- SoundtracksGia ena tango
Written by Haris Alexiou (as Charis Alexiou)
Performed by Haris Alexiou (as Charis Alexiou)
Courtesy of Chamano Publishing
Ausgewählte Rezension
This is the worst of the 'Before' trilogy.
The movie is preachy to a tea with its dialogue which loses the natural charm of the first two movies. Everything feels scripted now, or at least most of the interactions do now.
The wide-eyed outing of the first movie is progressively turned more dour with each instalment, and this climax puts it to an insufferable degree. I wanted to turn it off at the 45-minute mark, but I stayed to see if there were any redeeming qualities to come - there weren't. The last 30-50 minutes of the film are nails on chalkboard levels of galling.
The unique, somewhat documentary, style of the first film and, to a lesser extent, its sequel, is almost entirely lost in this instalment. There is an impressive one shot of the family driving a car, that lasts for about 20 minutes, but the dialogue in the scene was many notches lesser than its predecessors.
This movie is a stream of negative stimuli - about the climate, about technology, about relationships, about inequality between the sexes; everything is negative. And the dialogue between characters and the inclusion of outlandish stories and statements that are supposed to ring true about the differences between men and women, just come off as incredibly sexist for both parties and incredibly forced. There is a story delivered by a side character that purports that men only care about their penis, while women care about everyone else first. Like seriously? That's not only a horrendous generalisation to attribute to men but also a statement that reinforces the gender roles of the female caregiver. And for a film that tries so hard and in your face with its feminist and 'women are oppressed' themes, that comes off as extremely paradoxical.
The only benefit that comes from finishing this movie is a series of warnings drilled into your head about how toxic generalisation thinking is and how resentful relationships can become if your view of the world is rooted in pessimism. Don't be like that - don't become these characters. And, don't think that getting older forces these negative changes. Watch the first film to be hopeful about the world and spontaneity; watch the second to learn things can seem rooted in place, but change can still happen; and ignore this film.
The movie is preachy to a tea with its dialogue which loses the natural charm of the first two movies. Everything feels scripted now, or at least most of the interactions do now.
The wide-eyed outing of the first movie is progressively turned more dour with each instalment, and this climax puts it to an insufferable degree. I wanted to turn it off at the 45-minute mark, but I stayed to see if there were any redeeming qualities to come - there weren't. The last 30-50 minutes of the film are nails on chalkboard levels of galling.
The unique, somewhat documentary, style of the first film and, to a lesser extent, its sequel, is almost entirely lost in this instalment. There is an impressive one shot of the family driving a car, that lasts for about 20 minutes, but the dialogue in the scene was many notches lesser than its predecessors.
This movie is a stream of negative stimuli - about the climate, about technology, about relationships, about inequality between the sexes; everything is negative. And the dialogue between characters and the inclusion of outlandish stories and statements that are supposed to ring true about the differences between men and women, just come off as incredibly sexist for both parties and incredibly forced. There is a story delivered by a side character that purports that men only care about their penis, while women care about everyone else first. Like seriously? That's not only a horrendous generalisation to attribute to men but also a statement that reinforces the gender roles of the female caregiver. And for a film that tries so hard and in your face with its feminist and 'women are oppressed' themes, that comes off as extremely paradoxical.
The only benefit that comes from finishing this movie is a series of warnings drilled into your head about how toxic generalisation thinking is and how resentful relationships can become if your view of the world is rooted in pessimism. Don't be like that - don't become these characters. And, don't think that getting older forces these negative changes. Watch the first film to be hopeful about the world and spontaneity; watch the second to learn things can seem rooted in place, but change can still happen; and ignore this film.
- lindsay_frazer
- 2. März 2024
- Permalink
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Details
- Erscheinungsdatum
- Herkunftsländer
- Offizielle Standorte
- Sprachen
- Auch bekannt als
- Untitled Before Sunset Sequel
- Drehorte
- The Westin Resort Costa Navarino, Messinia, Griechenland(hotel room scene)
- Produktionsfirmen
- Weitere beteiligte Unternehmen bei IMDbPro anzeigen
Box Office
- Budget
- 3.000.000 $ (geschätzt)
- Bruttoertrag in den USA und Kanada
- 8.114.627 $
- Eröffnungswochenende in den USA und in Kanada
- 246.914 $
- 26. Mai 2013
- Weltweiter Bruttoertrag
- 20.705.582 $
- Laufzeit1 Stunde 49 Minuten
- Farbe
- Sound-Mix
- Seitenverhältnis
- 1.85 : 1
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