Nattåget

The desire represented in a chance meeting on a night train. A game of gazes between two young people who establish an almost carnal contact before even touching, expressed through sound, which sometimes comes from the train tracks but sometimes sounds like a beating heart. A fleeting encounter that perhaps changes the life of the protagonist.

Its special beauty, intense and fragile, touching and full of thrills, gentle and so young, remembering emotions of teen ages . The contrast between Oskar and Ahmad , not only physical. And, no doubts, the orange , its drops on the pants. That are few motives, for me, to love this admirable short film. It works, in my case, as a sort of Proust madlene. And it do this more than well. Beautiful story, good acting and wise use of silence. The game of gazes can be the best part and the untold stories of characters - the fair support for imagine it in large details. A young man to home after an interview. Another , with family. And their looks. A train toilet. And the kiss. Smart use of sensuality and splendid end.

"The Night Train" is a brilliant short film which uses very little dialogue; it doesn't need any. The powerful emotions conveyed through the eyes of the two young actors, especially Ahmad (Khalil Ben Gharbia), convey every essential feeling and more.

THIS is what is called a movie. It is a slice-of-life film and most likely, this is exactly what would have happened in real life. Perhaps the drops of juicy orange were a tad over the top; on the other hand, they very clearly conveyed the feeling of deep sensuality.

I've been in such a situation many, many times; there isn't one false moment in this. Really well done and the young actors were outstanding.

There's so much packed in here. Mundane phone calls, interactions with families both present and far away and parting glances.

Two youths make eye contact on the screen. Ahmad seems slightly older and more experienced. Oskar is hesitant and bashful. Will this lead to more?

The film makes use of juice dripping from an orange as a image of potential and actual connection. When the connection happens, Oskar cannot hold himself back - the orange becomes a symbol of his ecstasy.

We land back in matter-of-fact land with a paper towel and then arrival in the village. Ships have passed in the night never again to meet. But neither will forget their liaison.