Close My Eyes is a 1991 film written and directed by Stephen Poliakoff and starring Alan Rickman, Clive Owen and Saskia Reeves as well as Lesley Sharp and Karl Johnson. Music was by Michael Gibbs and the film was produced for Beambright and FilmFour International by Therese Pickard. It had a limited theatrical release from 6 September 1991,[3] before being shown in Channel 4's Film on Four strand on 28 October 1993.[4]
In 1985, town planning student Richard Gillespie visits his older sister Natalie, whom he is not very close to since they grew up separately. Natalie has recently split with her boyfriend and is unhappy with her job. She is depressed, and Richard's attempts to lighten the mood are ended when Natalie pulls him into a passionate embrace, kissing him on the lips. She immediately apologises, making the excuse that she just wanted someone to hug. Richard seems stunned, but not disturbed.
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Six years pass, during which Richard achieves success while Natalie's career stagnates; she marries a powerful and rich stock analyst named Sinclair Bryant. When Richard visits Natalie, he is introduced to Sinclair and the two get along well. Shortly after Richard's visit to her home, Natalie goes to Richard's apartment. They attempt to resist their attraction to one another, but eventually they succumb to their desires and have sex. They meet a few more times and eventually Sinclair begins to suspect that Natalie is having an affair. He questions Richard, believing Richard knows who Natalie's lover is.
Some time later, after learning that Sinclair and Natalie plan to move to America, Richard has an emotional breakdown. He attempts to commit suicide with sleeping pills, but Natalie arrives unexpectedly at his apartment. She invites him to the going-away party, on the condition that he not attempt to renew their affair. He attends with his colleague Jessica, but abandons her to search for Natalie. On finding her, the two have a fight, then return to the gathering dishevelled. Sinclair appears, and staying calm, makes it clear that he knows what has happened.
The film is largely a grand-scale re-working of Poliakoff's earlier stage play Hitting Town in that the main plot remains one of brother/sister incest, and the film re-uses some lines from that play in dialogue between the brother and sister characters. Beyond this, the film also covers the chaos (as the film sees it) that was the initial stages of the London Docklands development, the late 1980s recession and attitudes towards AIDS. A parallel thread running through the movie is the rapacious replacement of the classical by the modern, represented visually by old and new buildings.[5]
The film was shot mainly in London and, specifically, London Docklands with Sinclair and Natalie's house being in Marlow, Buckinghamshire.[citation needed] The grand party that is the stage for the film's climax was shot at Polesden Lacey in Bookham, Surrey.[citation needed] The final scenes along the river are at Henley-on-Thames, Oxfordshire.[citation needed]
The film was originally released on VHS video by Artificial Eye and is available on DVD in the UK and the US on the Cinemaclub label. The film has an 18 certificate in the UK and an R Certificate in the US.
This article explores EU political elites' images of Georgia and its evolution from 1991 to 2020. The analysis relies on the author's 25 original interviews with EU political elites, including presidents, prime ministers and ministers of EU member states and EU commissioners, alongside primary documents. By triangulating between novel interview data, document analysis and statements by EU officials, this article unpacks EU perceptions of Georgia's intentions, capabilities, threats and cultural status over a 30-year historical period. The study shows that three main images of Georgia have emerged over time in the eyes of EU and EU member states leaders: first, Georgia as a willing partner to the EU; second, Georgia as a political partner to the EU and third, Georgia as a close political and economic partner to the EU. This article, by studying the EU political elites' images of Georgia, adds knowledge to the EU's perceptions of external actors, which is an under-researched topic in the scholarship of images and perceptions in EU external relations. Moreover, it extends the literature on EU-Georgia relations, and helps to understand some of their peculiarities.
I remember vividly when the gift was given – when I first realized thatstudying with Jewish colleagues at the Catholic-Jewish Colloquium did not merelydeepen my faith as a Christian but, in fact, was essential to it.
We had gathered on a Sunday evening in small groups to share stories andsymbols of our sacred seasons, the High Holy Days or the Advent-Christmasseason, respectively. I had chosen to begin my sharing about the Nativity byreading the Annunciation story from the Gospel of Luke (1:26-38). In my mind’seye I pictured Mary sitting there, shy and overwhelmed, awash in the radiance ofthe Angel Gabriel. All of a sudden, as I was narrating the tale of this youngJewish girl and her monumental "yes" to God, my throat closed, my eyesfilled with tears and the letters blurred. I could barely continue. Stunned, Ilooked up into the faces of the two Jewish women in our group. It was as thoughMary were in the room.
Of course, I’ve always known that Mary of Nazareth, mother of Jesus, was aJew. Only at that moment, however, did the fact of her Jewishness make an impacton me. Even now, as I write this article, I feel again the intensity of thatinsight. To speak of Mary in the presence of devout Jews not only made her morealive to me, but also made the entire event of the Nativity more numinous.
I had a similar moment of grace when, at the invitation of Shulamith Elster,I went to a Shabbat service. Again, I kept filling up with tears, and, as thescrolls were returned to the Ark amidst the people’s singing, I felt a chill.I knew I had touched Jesus in some vital way by sharing faith with Jewishfriends. My encounter with living Judaism – not the historical Judaism I knewfrom my earlier education – has made me a better Christian because it hasexpanded my understanding of who Jesus is, and of who I am as his follower.
The Colloquium was for me a profound experience of family. This feeling ofdeep kinship as sisters and brothers, is, I believe, the key to the richness ofinterreligious learning. After all, do we not continually speak of the"human family"? Do we not call ourselves "children of God"?I am sure that the secret of how we may remain "particular" in ourreligious identity, and also radically open to the wisdom of other traditions,is captured somehow in that metaphor. The image of family, including thedimension of sibling rivalry, also explains the fratricidal mania that hasdestroyed so many lives and made religion a scandal in the eyes of unbelievers.
Like the children of a family, we are always afraid there will not be enoughlove, enough "God" to go around. We stamp our feet or rattle oursabers, insisting insist we have an exclusive claim to Divine Providence. It isno small thing to develop theological humility, to recognize, in the words of a1988 document from the United Synagogue of Conservative Judaism, Emetve-Emunah " that although we have but one God, God has more than onenation" (Kogan 1995, 91).
How difficult it is for us to acknowledge in our heart of hearts that God,the Mother and Father of us all, has many children. With each of them, and eachbranch of the larger family, God has a specific and precious relationship.Christians who fear acknowledging Judaism as a true way to God or refuse to seeJudaism as more than the "root" of Christianity impoverish themselves.Rather than leading to an amorphous mass of relativism, interreligious learningenables us to see two distinctive and special characteristics of each tradition.
As a committed Christian in dialogue with faithful Jews, I do not need toquestion my conviction that Jesus is the Son of God, the Word made flesh. I knowthis of Jesus, just as I know who my own flesh and blood brother and sister are.We know, really know, when we love. But in love we are always struck, asthe years pass and the surprises continue, by what we do not know aboutthe beloved. For God to be truly God we must allow love to be utterlytranscendent. We must believe in the revelation we have received withoutinsisting that our knowledge of the beloved be static. Every major religioustradition holds that our personal knowledge of God may grow over time – notbecause God changes but because we come to know more and more deeply who God is.This is, of course, one definition of holiness: an ever-increasing intimacy withGod, which the Jewish and Christian traditions see mirrored in the relationshipof marriage. Yet how often do husbands and wives who have been married for yearschuckle and say, "Every now and again he/she really surprises me."Surely, we must allow God the same privilege!
And, surely, if we are to know God intimately we must talk to God's friends.We must hear the faith stories of our brothers and sisters and listen for thetruth they bring to us. When I share the faith of my Jewish brothers andsisters, I know the Jesus who still dwells with them. For if we maintain thatthe resurrected Christ is still fully human and fully divine, Jesus is still adevout Jew. Jesus never, before or after his resurrection, disavowed his Jewishfaith. So, truly, if I want to know the living Christ, I must draw closer to hisJewish brothers and sisters.
And there we have the paradox, the "both-and" which exists at thecore of all the great religious traditions. Robert Johnson reminds us that theroot of the word "religion" is re-ligio, to bind togetheragain, to bridge (Johnson 1991, 84). He claims that religious truth alwaysinvolves staying within the tension of two realities that seem to contradicteach other. Our faith, then, is always founded on paradox: life comes fromdeath and wisdom is spoken by the foolish. If we collapse the paradox ofreligion, if we flatten it and insist that it fit neatly within our categories,then our mysterious God, who exists most profoundly in liminal spaces, willelude us. 152ee80cbc
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