Eros and Thanatos keep company in "The Forsaken Land," which is filled with the kind of frantic coupling that alternately suggests a doomsday scenario (you have five minutes left, go!) or a passionate affirmation of life.
At first sight it might seem that the dialogue's topic, Eros, is hardly the right tie to keep together the dialogue's two disparate parts, the highly poetically expressed depiction of the enchantment by beauty, and the quite pedestrian methodological explanations of the nature of rhetoric.
When they approved and supported her, she chose to keep the style that would become infamous with her name: "ero-kakkoi".
Eros's gravitational field is so slight that the spacecraft must keep its speed down to about 3 miles an hour to stay in orbit.
An Indian general used to keep his women at this place, now run by Anglican nuns (led by Deborah Kerr), and it still feels buffeted by strong currents of eros.
Eros is the smallest object ever orbited by a spacecraft and because of the asteroid's low mass, engineers have to manage the ship's speed carefully to keep it in orbit.
The relationship is perched on the edge of eros, but the way the movie is set up, it can't fall off the perch into an actual love affair, and although Coppola's taste and her determination to keep the anecdote small and ambiguous in feeling are admirable, the movie could use something grander, fiercer — danger, perhaps.
Before love's reinvention by the "middle class," love was ephemeral ("eros") and was kept separate from marriage, which was a political transaction.
In this Sasha Schneider show I kept seeing repeated Lawrence motifs -- the fight between eros and death; death ripping open pathos, leading to homoerotic revelations; the nurturing innocence of youth -- even though Schneider does not actually "illustrate" any of Lawrence's stories.
Eros might have been a stimulant, but pure competitiveness kept his motor humming.
