Avaliações do Metacritic

Ferrario deft use of old silent-movie footage - especially Buster Keaton - makes After Midnight enchanting.

An enchanting romantic comedy between two lost souls in the most unexpected of places.

Gorgeous high-definition digital photography adds to the rapture; the museum resembles a cavernous magic lantern with its seductive plays of light and shadow.

What makes After Midnight more than just another ménage à trois (in homage to Truffaut) is the way Ferrario, who also writes about movies, weaves the allure of early film into a contemporary story, shot with the latest high-definition technology.

An Italian romantic comedy that's irresistibly set in Mole Antonelliana, the cavernous Museum of Cinema in Turin.

Ferrario has fun with antique footage and exhibits from the museum, but there's a lack of urgency or sufficient charm to engage.

As a story, it never develops beyond the routine. Still, the aesthetic philosophizing works as a framework for daring visual experiments.

Diverting and often charming, but it never really holds together.

The gorgeous Mole Antonelliana is the breakout star of Ferrario's fluffy valentine to the cinema.

Rich in lovingly assembled silent-film clips, as well as in intimate views of the magnificent Mole, this impassioned yet somewhat too precious fable from writer-director Davide Ferrario feels calculated to make a cineaste swoon, and yet . . . it never quite does.