Film Viewpoint’s interpretation, not an objective verdict.
Night can turn a familiar place into a question. In Night of the Living Dead, George A. Romero’s 1968 film, darkness presses a besieged group into anxious proximity as the world outside becomes hard to read. Martin Scorsese’s Taxi Driver (1976) uses nocturnal movement differently: streets, windows and passing light keep its alienation in motion. Wong Kar-wai’s Chungking Express (1994) makes late-night transit feel restless, intimate and provisional.
This comparison is an editorial way into three distinct films, not a definitive history of city cinema. Readers may find different meanings in the same scenes; the feature follows how public space, isolation and movement change when daylight recedes.
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