User reviews

The Hollywood reporter wrote "Caleb Landry Jones headlines 'To the Night,' a psychological acid trip of a movie directed by Austrian filmmaker Peter Brunner ('Those Who Fall Have Wings'). "

I don't get why some critics pick on the rich kid topic since the whole film feels more like a metaphor for th ecrative process than a depiction of a social realism.

In one scene, Norman aims his car at his parents' home and does an intense burnout, with the implication that at any moment he could take his foot off the brake and end it all. The movie builds tension in a similar way-Norman gets worked up more and more until he explodes, with the emotional shrapnel hitting whoever is closest. He admits to Penelope that despite his best efforts to maintain mental stability, "I can't get used to the way I'm supposed to be."

As much as Norman's behaviors should have everyone running in the opposite direction, he is a study in how we try to care for loved ones with dangerous mental health problems. He is selfish, cruel, abusive, and destructive, but he's also a nuanced person who is cared about by his friends and family, and that creates an authenticity that binds the story together.

Technically, the film is professional and aesthetically pleasing. Fire colored lighting, specifically red hues, are prominent throughout. The sets are stripped down and full of Norman's art, creating a canvas for the unrestrained displays of emotion. The shot scale and composition is varied, but extreme close-ups are used so often that it verges on emotional manipulation.

The film is mostly well-acted, with an exceptional performance by Caleb Landry Jones. Overall, TO THE NIGHT is a portrait of the agony of mental illness, experienced not only by Norman but by everyone around him. Resisting the opportunity to be exploitative, TO THE NIGHT paints a harrowing portrait of raw, realistic human pain.

A prolonged panic attack, a man haunted by his own demons being expected to be the main protector for everyone in his life. A nightmarish hellhole that I'm going to take a long break from before I visit, but revisit I must. A fantastic performance from Caleb Landry Jones who at this point must be the most hardworking actor in the world. Won't be for everyone, but it's certainly for me.

The contemplative tone of To the Night is particularly interesting.

The director Peter Brunner has the great ability to stage a complex inner torment that is not easy to analyze in a very personal and honest way.

The inner conflict of the young Norman (a very good Caleb Landry Jones) is staged here. The man recently became a father and is in danger of destroying everything he loves. The reason for this is a serious childhood trauma: his parents died in a fire that he himself unintentionally caused.

Light and many, many shadows are the protagonists in Norman's life. The images are created with the help of fine plays of light. The protagonist's life almost always takes place at night, in public places or in his workshop, where he usually creates unique works of art. The only person who accompanies him in his moments of crisis is his brother. He, too, who has neither work nor an apartment, is severely traumatized due to past events.

In To the Night, Norman's inner conflict is staged by Brunner through close-ups and details. Everything is recorded with a shoulder camera. Prematurely wrinkled faces, slowly inhaled cigarettes, needles piercing the skin, and glances at New York City (a silent spectator of the protagonist's drama) are omnipresent in To the Night. Everything takes place here in darkness or semi-darkness.

The only moments we see faint but blinding sunlight are when Norman is playing with his son, when he meets with his lover Luna, and when he finally decides to change his life.

To the Night is an intense and claustrophobic film that is reminiscent of a stream of consciousness. A constant dialogue between Norman and his ghosts of the past, which is only interrupted when his fiancée suffers from the situation and takes care of her newborn son.

In a very personal and honest way, Peter Brunner succeeded in staging an inner conflict that is complex and not at all easy to analyze. And if the feature film seems to be almost repetitive in some moments, the situation changes immediately.

Peter Brunner's talent seems to promise us many more surprises in the future. And Ulrich Seidl noticed that too.

Vividly pictorial portrait of an artist who is struggling with the demons of his past.

With his third feature film, Peter Brunner proves that he has a special talent for intense material. The main characters of his previous work Christos Haas (The Blind Heart) and Jana McKinnon (Everyone Who Falls Has Wings) also play an important role in his Ode to the Night, but the focus is clearly on Caleb Landry Jones (Three Billboards Outside Ebbing, Missouri , Get Out), who delivers an impressive performance as an installation artist between shadow and light.

Norman still suffers as an adult from the aftermath of a post-traumatic disorder that he suffered from watching his parents burn to death as a child. But he has no memory of it and tries desperately to reconstruct the images of the fire and the feeling that he is about to die himself in order to achieve something like healing. The longing for the family, which he never had, seems to be fulfilled with his girlfriend and his little son, but Norman, who constantly vacillates between tenderness and anger, endangers the temporary idyll with his auto-destructive search for redemption.

To the Night is a classic travel film, except that the trip does not go to distant countries (even if the Brooklyn locations with their exquisite shabby chic play a major role), but into the interior of the multi-layered and contradicting protagonist. A stringent plot is not the main interest of the director, it is more the man's condition that is captured in an expressive visual language that keeps the balance between naturalistic and fantastic elements very well.

In addition to the images of the night, the fire and above all the faces of the four expressive main characters, the passion with which the potential superstar Caleb Landry Jones gives this tormented soul a body remains in the memory. The story will be remembered less; you will look in vain for a classic Hollywood dramaturgy in any of the Peter Brunner films. This is of course a conscious decision, but a little less volatility might have done the film quite well. If, as a viewer, you are looking for a dramaturgical development, you are more likely to leave the cinema disappointed, if you can get involved in the flickering will-o'-the-wisps that is at the center of the film, you can expect an intense cinema experience.