Spoilers do not reveal major plot points or affect the integrity of the film. We Are the Night (German: Wir sind die Nacht) is a 2010 German vampire horror film directed by Dennis Gansel. German language with English subtitles. Also available in English without subtitles. I'm a lover of all things horror and have recently warmed to German films which made this combo a must see for me. The film packs some powerful punches as it explores concepts like youth, beauty, depression, self-harm, suicide, aging and the consequences of immortality along with Valerie Solanas' idea of an all-female society. These themes are wrapped so snugly into the film that it's revelations are practically seamless. At the beginning of the film we are introduced to lovely but lonely Lena (artfully played by Karoline Herfurth). She's a tough teen whose life is overshadowed by the cold despair, hopelessness and pointlessness which often accompanies abject poverty. Her life is dominated by negative interactions with male authority figures in the police, her parole officer and those she pickpockets on the streets. Her only reprieve from this desolation seems to come from escapism into the German underground. It is in one of these undergrounds where she meets Louise, the head of a 3 person pack of attractive female vampires. One is Charlotte, a breathtakingly beautiful former silent movie star who seems distant and removed from the world around her. The other is Nora, a cute and perky. young, hip raver girl with enough energy your head will spin just watching her as she parties her way from one scene to the next. Louise herself is a rather attractive and regal looking woman whose maker was killed by sunlight. Louise becomes consumed with the idea that somewhere out there her lost love and sole mate will be reincarnated and she will recognize her by looking deeply into her eyes. Incidentally, this plays nicely off the concept that eyes are the windows of the sole. But how can one know for certain it's their lost love with only a glance? You can't and thus Louise turns each girl who might be her lost love but inevitably finds they are not "the one" and so continues her search. Even though there's an inevitability to each new partner not quite meeting Louse's expectations she does not discard them upon this revelation. Choosing instead to collect and keep them like living photos of whichever century she steals them from. They remain at her side as immortal cohorts in crime.Early on in the movie, Louise shares the premise to their way of life with her freshly initiated young whelp, Lena. All of the male vampires were murdered by the females for being "too noisy, too greedy and too stupid."Upon first glance that might make the viewer draw the conclusion that this film is about misandry and those evil feminists plotting to take over the world. On closer observation though it proceeds to carry a completely different message, via multiple scenes in which the female vampires make any number of vacuous decisions, equal to, if not greater than their so-called "inferior" male counterparts. The takeaway of this film is a two-fold message; Men and women are equal in their more redemptive traits like selflessness, kindness and compassion. Scattered throughout the movie are small breadcrumbs alluding to this such as a rather poignant moment in which Nora is intentionally cruel when a sweet young bellhop who likes her, offers her a flower at the steps of their hotel. She tells him she'll have him fired if he dares ever speak to her again because she knows if she returns his affections it will lead to his death by her hands. Women are also equally capable of committing monumental acts of evil and cruelty such as when Louise, taking on role of mother and lover, dumps the vulnerable and ailing Lena at the feet of a human trafficker who intends to beat and rape her into "submission."It's the sum of these small scenes which add up to the breathtakingly big revelation that the female vampires inevitable outcomes are due to their own shortcomings of greed, carelessness and stupidity..the very (all too human) traits Louise earlier subscribed to as the reason for the downfall of their male counterparts. The ending, in particular, actually refutes any claims to be made for misandry both in the choices Lena makes for herself and the fate of the other vampires who have been subscribing to such misandry.Other interesting points:The original script for this film was written before "Twilight" but shelved for other projects until after "Twilight" came out. Due to the similarities between the original script and Twilight, Gansel had Jan Berger rewrite the script, now under the title "Wir sind die Nacht." It's loosely based around Carmilla and sanitizes out most scenes involving a romance between Lena and a police officer in favor of a love story between women.Heiko Maile was inspired by the score of the film "The Dark Knight" and how it combined electronic music with orchestra and electric guitar. Maile used "Au Clair De La Lune" as Charlotte's theme. Peppered throughout the film are other outstanding musical scores. Among them, IAMX's "Nightlife" and "Wir sind die Nacht" by Covenant. Well worth a purchase of the album for these two songs alone. Torsten Breuer's cinematography, Shot for shot, make this is a gorgeous film and a feast for the eyes. In a brilliant maneuver, Breuer and Gansel manage to make the vampires nocturnal world of night, wildly colorful and lush while simultaneously making daytime life seem cold, bleak and colorless.I highly recommend joining these fun loving and endearing homicidal psychopaths for a bit as they send you on a dizzying romp of action, gore and genuine drama.

Female vampires are all that is left. Men typically screwed up and were eliminated. Naturally, when one wants a true love, she is going to be searching for the right female to join her for eternity.This is really a slick production with good camera work, great music, and lots of action - lots of blood, too.Karoline Herfurth gives a great performance as Lena, the pickpocket that is transformed. She has a hard time warming up to Louise (Nina Hoss), and keeps a tie to a cop (Max Riemelt) she met when she was a pickpocket. Twilight fans may find this story compelling, and would certainly like the ending, but it's for adults.

I really didn't know what to expect of this film at first glance. The cover art for it suggested to me that this will be just another foreign vampire film with breasts and pretty faces all over it and not a near interesting story. I was wrong. This was actually a pretty decent film. It's about a beautiful vampire named Louise who's been spending eternity with her two beautiful cohorts looking for her soul mate. Nina Hoss as Louise very much reminded me of Lauren Hutton in "Once Bitten" as the Countess with her luscious long blonde locks and beautiful face. Louise is obsessed with finding her "partner" and it is implied that there was a time where she might have thought her cohorts Nora and Charlotte were her soul mates. Louise meets a troubled young girl named Lena and forces Lena against her will to become a vampire. Louise is convinced Lena is the partner she's been looking for.This vampire story might be more for a female audience. The story is mostly about being love-sick for someone who doesn't want you and all the chaos and jealousy it may ensue. Other than that it has most of what you would want or expect from a vampire story. There's violence, there's action, there's still that conflict between being powerful and immortal and being sad and alone. There's a lot of elements of fun in this film as you will see these women doing absolutely anything they want from speeding, doing drugs, having sex, and shopping. Nora is a fun character because for an undead she is quite lively and energetic. Charlotte and her story is quite tragic and justifies her behavior once you get more involved in the film.I thought the story could have been better but there's plenty to like about this film from it's casting to it's imagery, to it's playfulness.

Wir sind die Nacht (We Are the Night) is simply fantastic. It's scary, suspenseful, and funny in it's own way (sexy, lesbian vampires driving Lamborghinis and shopping after hours, for example), and the most original addition to the vampire genre since Let The Right One In. Controversial in many ways, this is the real deal. The story centers around a coven of four female vampires as their bond unravel when one of them establishes a relationship with a police officer. The film introduces some concepts that I've never seen in a vampire film, such as when one of the young looking vampires visits her elderly, dying daughter, or when another gets shot and then pops the bullet out of her chest. The musical score is exciting as well. I really enjoyed We Are the Night. Don't be fooled by the hokey DVD cover. This is a truly well made, bad ass flick.