mardi, 23 juillet 2024
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ffiction, 35mm, black and white, 80' - 2004

selections: Thessaloniki, Istanbul, La Rochelle, Barcelona




1989: Anne is a student of ancient poetry, somewhat lost in an imaginary world. Her friend, Pierre, is a photographer, constantly seeking the ultimate shot that perfectly captures the spirit of the times. He neglects her. She decides to leave him when he goes off to Berlin just a few days after the fall of the Wall. Something is about to happen. And Anne would very much like to go to Greece. Greece where….

2003: A young Greek woman, Maria, returning from urban guerrilla activities, is on the run in a country in the grip of a collective anti-terrorist hysteria. She is injured, and is taken in by a young tourist guide who risks her own life to help Maria escape. Her name is Daphne…

1996: A few years previously, Daphne had returned to Greece, after several years studying in Germany, to confront an unbearable decision: she had to make a life or death choice concerning her twin brother, whom doctors were using as a guinea pig in appalling scientific experiments.

BEFORE THE NIGHT tells the story of three women living in different places and times but all strongly committed to opposing society in one way or another (through poetry, politics and particularly love). Their fates become intertwined in a large modern city, sometimes in the most surprising manner, and their voices become harmoniously united in a final dream linking space and time in a poetic and harrowing vision of life at the dawn of a new millennium.


The film strives toward simplicity, towards the essential. A documentary filmmaker with important experience and great cinematographic skill, Timon Koulmasis associates in Before the Night political action with poetic catharsis. The result is real emotion. What else does it take to create a work of art?

The screenplay deals with terrorism as a way of living in its ethical and existential dimension rather than as a specific historical practice. To refuse to submit to fear signifies a challenge that sooner or later will become a sometimes melancolic stake of one's memory.

Three women, three life-stories draw the outline of the film. The style is lucid and never gives way to easy solutions, to a demonstration of the so-called cinematographic means or to sensational effects. The three female characters do not represent principles or stereotypes. What sadly happens to them only justifies their desire of another life before everything is definitely lost. We have to keep up hope as long as we live. Before night falls.

The photography –a subtle black and white- and the music are extraordinary. Concerning the protagonists (Maria Kechaioglou, Maria Protopapa, Anne Leroy), Maria Kechaioglou proves in Before the Night that she is one of the very rare important dramatic actresses in our country.

Dimitris Xaritos , ANTI (Athens) - 18/11/2005

In 1994 you made a film about Ulrike Meinhof who was the mastermind of the Red Army Faction in Germany. In 2004 you present Before the Night, a film about ways and ethics of armed struggle, while the question of greek terrorism is still on all minds after the recent dismantling of the 17th November group. Why choose this subject already? Isn't ittoo early? One could object that History should judge these things first.

I do not judge, I inquire. As in my documentary films, I don't pretend to know, I try to understand. I am a citizen like everybody else, but as a filmmaker I have the duty to challenge television's exclusivity on a subject that concerns us all. The film treats with the question of terrorism, but it questions society's reaction to this phenomenon rather than to show the more spectacular aspects (bombings, arrests etc.) that TV presents us with until we get sick. Before the Night is a film that tries to show responsability.
The story is set in a global context. There are two important dates: the fall of the Berlin Wall, in 1989, signifying the hope that totalitarian ideologies had come to an end; and 9/11/2001 where everything changes since a barbarous crime committed by a few islamic fundamentalists provides the pretext for a large-scale attack on civil liberties and for launching global war.
So I imagined for this film a character, Maria, who in her youth had sincerely believed in urban guerrilla warfare but had understood the error early enough to get out of it in time. Her past, of course, gets hold of her again, she has to flee but never looses her dignity. She is helped by a person who, contrary to most of the people, refuses to be manipulated by fear.
But terrorism is not the only theme in my film which deals also with other problems of contemporary society. Scientific progress, for example, who might threaten Man whom it is supposed to help. Daphne, the second character of Before the Night, is confronted with an unbearable decision that rises the same ethical question in a more tragic context: can there be a situation where the absolute interdiction to kill looses sense?
And finally there is a third, more utopian character in my film, Anne. There, everything is about love. Her passion transcends the two other stories in a poetic way.

There are three characters in Before the Night. Anne throws her shadow over the film like a phantom. Maria is considered by society to be a criminal but wants to live and not only to survive. And Daphne leads a hollow life while keeping the secret of a murder. What have they in common?

Their loneliness. They have different answers to that but they are comitted to opposing society that isolates them. They want to be free and believe that human dignity is inalienable. Law is not always synonymous with justice. They challenge established conventions and accept to confront difficult choices, they take on the responsability for what they do. Which is uncommon these days…

There is a kind of happy ending since the character who wants to live (Maria) escapes death.

Unfortunately I don't see a happy ending. Daphne has to die in order to free herself from her secret. She sacrifices herself for Maria who survives but will be arrested and has to live forever on with the idea of Daphne's death without even knowing why she has been saved by her friend. In a way, while she hasn't killed anybody in the years of armed struggle, she now kills Daphne without wanting it.
So Anne, as a conclusion, evokes the "suns broken by the cold" before she disappears herself, litteraly "vanishing" from the image.
But I don't consider Before the Night to be desperate film. The characters are fighting a state of things that certainly is desperate. But they experience what it means to fully and truly live their life.
And the story is not everything. My film searches for beauty, from the beginning to the end. Resistance is possible there. Only poetry will save us. This might seem grandiloquent, but I do believe it.

Anne lives in western metropolis at a time when winds of change were sweeping the city and our lives. Daphne, a few years later, finds herself in a more provincial environment. Today, Maria is on the run, out in the wilds, but sounds and noises of the city surround her.

On the one hand, the film is shot in Paris, Berlin, Athens and at the seaside. In this respect historic chronology prevails. The sequences in Greece take place after 9/11/2001. Whereas the s-8 pictures of Berlin have really been shot in 1989, shortly after the fall of the Wall. The Russian soldiers you see, this is really the Red Army in East Berlin. Besides, the filmgrain is different, the black and white is different, emphasizing visually the passage of time.
On the other hand, in the middle of the film, the three stories become intertwined in a large modern city that is neither Athens, Berlin or Paris. It is the city – it follows us whereever we are. Daphne in the countryside and even Maria in the midst of sea find themselves at the heart of the city, at night. The city basically determines our lives.

Some images are recurrent in your film. The sea, the sun, clouds, the moon. Is this all that remains?

Of course not. These are moments of contemplation, incantation. They remind us of an origin. They keep us going.

There seems to be a contradiction. Maria understands clearly that guerilla warfare does not help to achieve her political goals. Daphne, though, follows this path, even if this does not relieve her. On the contrary, she pays for it, probably deliberately.

There is no contradiction. Daphne joins no group, she does not commit herself to armed struggle. She helps Maria out of solidarity and love, not out of political conviction. She doesn't know who Maria is when she takes her in. The anti-terrorist hysteria in the country, the athmosphere of denunciation are revolting to her, yes, and happily so. But in helping Maria she frees herself of bitter memories of her past. She does not calculate the consequences, although she accepts to pay the prize. Does death finally relieve her? I have no answer to that. But it is more important to keep in mind, that by taking the boat with Maria, she is able to escape her hollow existence and to live according to her values. Even if it isn't for long…

Generally speaking, where is your place in contemporary cinema?

The Argentinian novelist Ernesto Sabato said that to achieve a work of art you have to be a bit of a philospher, a bit of a poet and a bit of a terrorist… I feel somewhat akward to quote him since I have not his talent, but this definition of art delights me. It characterizes better than any words that I could find, the approach underlying all my work, fiction or documentary alike.

  Maria Kechaioglou, Maria Protopappa, Anne Leroy
    Sophia Michopoulou, Dimitris Xanthopoulos,
Kostas Antalopoulos, Jérôme Keen
writer, director
  Timon Koulmasis
line producer
  Iro Siafliaki, Bonita Papastathi
  Boris Breckoff
  Stefanos Euthymiou
  Aurique Delannoy
  Laurent Sellier
producer   Timon Koulmasis
production   Aia Films

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