The Green Ray

Out of the two Rohmer films I've seen I think I like this one much better. Was also able to put my French Duolingo grind to use somewhat.
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In a dream I had a few weeks ago, right before I woke up, I was lying in the bed of my childhood home. I looked out of the window and saw a sunset. Something about that sunset, how it glanced and blinked through the oak tree's leaves and branches, the sky peeking through the gaps -- it felt like a cellist was performing a vibrato in that space between my spine's second and third vertebrae. I can't quite put words to it without spilling my guts out, but I remember it a lot, and this film really brought that memory back. Generally, I remember waking up with an immense sense of hope, a feeling that I don't think the word "hope" in its colloquial understanding really does justice to. And I think this film captured something close to whatever it was I felt in that dream.

(I think in the journal entry I wrote after I woke up that morning, I noted how the sunset's affect felt somehow linked to Taste of Cherry by Abbas Kiarostami -- perhaps an interesting double feature)
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Sometimes a man or woman forces his despair // on another person, which is called // baring the heart, alternatively, baring the soul– // meaning for this moment they acquired souls– // outside, a summer evening, a whole world // thrown away on the moon: groups of silver forms // which might be buildings or trees, the narrow garden // where the cat hides, rolling on its back in the dust, // the rose, the coreopsis, and, in the dark, the gold // dome of the capitol // converted to an alloy of moonlight, shape // without detail, the myth, the archetype, the soul // filled with fire that is moonlight really, taken // from another source, and briefly // shining as the moon shines: stone or not, // the moon is still that much of a living thing.

-- Love in Moonlight by Louise Glück