More people look for salvation through relationship than in the houses of worship. One may even suggest that romantic love has replaced institutional religion as the greatest motive power and influence in our lives ... the search for love has replaced the search for God.

One of the false ideas that drive humankind is the fantasy of the Magical Other, the notion that there is one person out there who is right for us ... a soul-mate who will repair the ravages of our personal history; one who will be there for us, who will read our minds, know what we want and meet those deepest needs; a good parent who will protect us from suffering and, if we are lucky, spare us the perilous journey of individuation.

.

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عدنه ليله تبيع بالوگفه دهن
وقيس حمال ويچد بس عالبطن

من سألت جوليت گالت بالسجن
روميو التعبان بايگ تايرات

وخلي يكتبلك دمع عيني اليسيل
عن بثينة وكتي يحچيلك قليل

عدهه ست اطفال صاروا من جميل
كلهم يجدون بالشارع حفاة


*سمير صبيح يسولف ع اجواء حصار التسعينات وشنو جان المزاج للشاعر اذا راد يختار موضوع

Aristotle believed the eyes emit rays. The rays are reflected back to them, and that's how humans see. When your eyes lay on me, I saw them sending away teeth and hands. Teeth and hands were crawling all over me, eager to bite, devour, touch, and hug. You have eyes as hungry as wild beasts. And you're trying so strenuously to keep them leashed.

على ذكر فيروز

Camille Claudel's Portrait by Auguste Rodin. Camille Claudel met Rodin while studying at the Académie Colarossi in 1883, and became his colleague and mistress. They separated in the mid-1890s. After the separation, creative difficulties and crippling loneliness increasingly hampered her work, and she was committed to a psychiatric institution in 1913, where she remained until her death in 1943.
In 1886 Rodin began modeling a portrait of Camille Claudel in traditional costume. When his assistant Victor Peter, executing the work in marble, reached the collar, Rodin made him stop: the head emerging from the block offered the contrast, as in Michelangelo, of a finished section imprisoned in the rough-hewn stone. This triumph of sculpture was exhibited as it was at the Salon in 1895, entitled Head. Only later did it receive its Symbolist title of Thought Emerging from Matter, then simply Thought.

— Before Sunset

What makes 'Before Sunrise' special?

Instead of showing or telling you about a love story, 'Before Sunrise' places you deep in the love story itself. It follows the ancient sacred rule of cinema «show, don't tell».

Try and remember the long conversations you had with a lover of yours when you both were trying to "know" each other: you find yourselves talking about everything and nothing at the same time. The world fades out and becomes irrelevant, and the focus becomes you and your lover-to-be. Everything becomes fantastical and magical. The worries and aspirations of both your lives recede to the background, while other people are reduced to secondary characters that add up to the magic of the moment (just like the palm-reader, the poet-beggar, and the harpsichord player).

'Before Sunrise' is one such conversation. The whole movie is basically one long dialogue between two lovers, any- and everything else that happens around the couple merely serves to fuel this dialogue further. It is no coincidence that they meet in Vienna and are meant to depart before sunrise; lover-talk moves both interlocutors to a fantastical, exciting, and unfamiliar place. That's what happens to Jesse and Celine, the American and the French, who spend their one and only wild night in Austrian Vienna.

What keeps such conversations afloat, is the pleasure one gets from exploring, from discovering, someone else with all their quirks and eccentricity. It is the same pleasure you derive from exploring a new city (the dark alleys and the fancy restaurants alike).