She falls in love with a young police officer who investigates a murder case involving the vampires.

On Charlotte's suggestion, the women sell Lena to some Russian pimps to force her to accept her new state of being (the word "vampire" is never mentioned in the film).

The women enter the compound and kills the pimps but fail to notice one mobster hiding in fear.

At first she hated her maker, but grew to love her after traveling throughout Europe and getting to know all the benefits of the immortal life.

After her maker was killed by sunlight, Louise wanted to commit suicide to join her, but instead began searching for a new companion.

As Lena bathes, her short hair grows and returns to its natural color, her piercing falls out and she loses all bruises and wounds (including a tattoo on her belly).

Lena spends a night shopping, partying and having fun with the women who give her the stolen Lamborghini.

As the night comes to an end, the women return to their hotel to perform their morning ritual: allowing the first rays of sun burn their skin but retreating inside before any lasting harm can be done.

Tom and his partner, Lummer, interrogate the surviving mobster who says that the devil killed his friends and stole his Lamborghini.

Lena goes to Tom to say goodbye and forces him to shoot her and the wound heals in front of his eyes to show her true nature.

Louise asks Lena through an intercom how she would manage to live with a man destined to die, herself knowing the pain of losing a loved one.

First Franka Potente was going to direct, but with the flop of Creep, no one wanted to invest in German horror films.

Thinking that an ordinary love story was no longer in place with the boom of star crossed vampire/human relationships Gansel imagined a darker twist on the subject was more in order.

Karoline Herfurth was shown the script back in 2000, but she was too young to play Lena, so Gansel promised her the role of Nora.

Instead Anna Fischer was cast as Nora, who in the eye of producer Christian Becker was the perfect choice because she looked like a party girl.

The soundtrack album, released as an MP3 download and on CD, features the majority of the songs and parts of the score.

It continues after Lena starts to cry and shows her running away into the subway station leaving Tom behind.

After delivering the bite, Lena flies backwards, crashing into the wall much like Louise did when she bit her.

"[8] CraveOnline's reviewer wrote that "The vampires on display here are tragic creatures, certainly, but also fun-loving homicidal maniacs.

It's the best vampire movie since Let The Right One In, and if given the choice to watch either film over and over again I'd pick We Are The Night every time, because it's fun as hell."

The reviewer praised the acting as top-notch and stated the film was just as good as vampire classics like Near Dark and Let the Right One In.

He concluded by stating "There isn't much to complain about here, it is a fun and interesting film, a breath of fresh air in an over done subgenre".

[12] Like many other critics who reviewed the film, Fearnet commented that We Are the Night lacked in originality borrowing themes and elements from films like Near Dark and Interview with the Vampire but the execution of these themes and elements were extremely well done and the lack of originality was made up for by energy and execution.

[13] Brutal as Hell made similar comments, but ended up being more positive stating the "borrowed" elements where already established tropes of vampire fiction.

Dennis Gansel stated in German press that the commercial failure "hurt his soul" because of all the work he and his co-workers put into the film.

[20] Gansel attributed the failure to the film opening the same week as The Twilight Saga: Eclipse and not being able to compete with such an established franchise.