Day Night Day Night
2006 Directed by Julia Loktev
Synopsis
A 19 year-old girl prepares to become a suicide bomber in Times Square. She speaks with no accent so it's impossible to pinpoint her ethnicity. And we never learn why she made her decision. We don't know whom she represents, what she believes in--we only know she believes it absolutely.
Cast
Popular reviews
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Never wrote a proper review of this one, which I caught up with fairly late (it wound up on my top ten list), so my brief Watch This piece will have to do. There are few directors whose next film I anticipate as eagerly as Loktev's.
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It’s not Julia Loktev’s fault that ambiguity is so damn fashionable that people just wear it with everything, but it does drain the suicide bomber procedural of its rigor, and we’re talking about a film named for its timespan. It is a procedural, with all the nitty-gritty set-up for a terrorism video and none of the explicit politics, but it’s not omniscient. It’s about how the unnamed protagonist—tres chic!—experiences the preparation and attack. It’s a cyclops trained on She, whose head fills the frame at every convenience and whose body produces more abrasive Foley effects than Jerry Bruckheimer’s gas. She clips her nails like a staple-gun, her saliva sloshes over her crunchy eggrolls like waves, she eats a candy apple…
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Meditative, sad, void of answer. A restrained, minimalist film that aches with power.
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Time to take care of Slothy’s seven new ulcers. This might be the most unenjoyable film to which I can give no grade lower than an A-. To those looking for comfort or knowing things, seek elsewhere.
Recent reviews
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I enjoyed The Loneliest Planet and so was eager to circle back for this. Formally interesting and ultimately affecting, but it felt like the director left a lot on the table, in terms of the character and the situation.
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Shades of The Passion of Joan of Arc in this uneven, roughly sketched slow-cinema nugget. The real theme here is connection, since it’s the one thing the nameless protagonist really seems to be striving for, from her fumbling attempts to strike up conversation with her terrorist handlers to the sad entreaty for them to share a meal with her (would have liked to see more on this scene, with its goofy pageant of slices stuffed through the mouth holes of ski masks). Mostly she’s seeking union with an ineffable presence (whatever God this is all done in the service of, if any) which she’ll attain via the self-erasure of martyrdom. That release never comes, which shouldn’t be surprising, since the rejection by all other parties and the exclusive focus on her body (stifling close-ups, sounds magnified to a booming level) indicates how alone she is, even among the teeming crowds of Times Square.
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Never wrote a proper review of this one, which I caught up with fairly late (it wound up on my top ten list), so my brief Watch This piece will have to do. There are few directors whose next film I anticipate as eagerly as Loktev's.
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Julia Loktev's second film (and first fiction feature) is a tightly constrained psychological thriller delving into the protagonist's interior perceptions. Audio and visual design is overt with ambient sounds unnaturally loud and crackly and close-ups-on-overexposed-backgrounds aplenty. This is all pulled together with purposefully glitchy editing to create a kind of on-going claustrophobic tension which I'll liken (again) to my go to touchstone for claustrophobic tension, the opening third of Lodge Kerrigan's KEANE.
These self-aware formal constructions (perhaps a tad too in your face) do an effective job of helping the audience to traverse the film entirely in the internal world of the central girl's emotional head-space, changing in stages throughout the film. Outwardly she is unfailingly polite, except in the…
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There's minimalist and then there's antagonizing wank. As in: I'm going to film thirty minutes of me taking a shit and you're going to lap it up because I implicitly claim that it means something purely because it's in the film. Fuck this! You could walk away from this film at any point, make a cup of tea, go out into the sunshine, live your life, and come back to it an hour later having missed nothing. In fact, just don't watch this film and you won't have missed anything. To add insult to injury, director Julia Loktev not only has fuck all happen she also amplifies the sounds of fuck all happening like people eating, licking fingers, cutting nails etc... Honestly, fuck this! This is not film making, this is not tension, or art, or anything. This is someone polishing a poo and trying to force feed it to you. Avoid.
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Punishing close ups and lack of music heighten tension to unbearable levels in this stark drama. A chilling & superb film anchored by a terrific performance by Luisa Williams who is in virtually every shot.
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79 out of 100
Watched in preparation for The Loneliest Planet tonight, which was already my most anticipated movie of the year (based on someone mentioning it being in the genre of movies in which little happens and people walk a lot) and after this one if it could go any higher it would. The premise is a mystery for about 20 minutes, and as soon as it’s revealed a bigger mystery is put out out there in a single cut. Before the girl gets a chance to actually read her suicide bomb letter we cut and that leaves her in this weird nebulous sympathy zone, never giving us any reason to hate her or judge her actions beyond what…
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It’s not Julia Loktev’s fault that ambiguity is so damn fashionable that people just wear it with everything, but it does drain the suicide bomber procedural of its rigor, and we’re talking about a film named for its timespan. It is a procedural, with all the nitty-gritty set-up for a terrorism video and none of the explicit politics, but it’s not omniscient. It’s about how the unnamed protagonist—tres chic!—experiences the preparation and attack. It’s a cyclops trained on She, whose head fills the frame at every convenience and whose body produces more abrasive Foley effects than Jerry Bruckheimer’s gas. She clips her nails like a staple-gun, her saliva sloshes over her crunchy eggrolls like waves, she eats a candy apple…
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Meditative, sad, void of answer. A restrained, minimalist film that aches with power.