The Geeks Insight

Reflection on the yearning caused by romance cinema’s prodigal children.

Celine (Julie Delpy) and Jesse (Ethan Hawke), Before Sunset (2004), Directed by Richard Linklater

Vienna, Austria, 1995. Strangers Jesse and Celine meet on a train. Magical moments forge the present. Departing the locomotive, two souls intersect on a shared adventure, unknowingly forever impacting the trajectory of their lives.

Directed by Richard Linklater, known for exploration of human behaviour and connection. Rolling off of Slackers and Dazed and Confused, two endearing young actors joined Linklaters dream of moulding the perfect fantasy into art. Real-life experiences inspired directorial decision making. Half-A-Dozen years prior, Linklater met his own star crossed lover, though chances for reacquainting drifted apart due to the distance between.

Embracing fallen connection as fuel, a narrative to redefine yearning was born.

*Spoilers for Before Sunrise and Sunset*

Before Sunrise (1995)

Youthful magic within young adulthood steers storytelling direction in Before Sunrise. Hailing from America, Jesse’s introduction to French woman Celine relates to a partially awkward essence involved with solo traveling, breaking isolation.

Speaking from experience, company met abroad may be strange initially, yet sharing once in a lifetime moments remain fond and fresh in memory. Layers of hesitation sit in the palms of both parties, for knowing your encounter may be singular offers choice. One of letting greater moments pass out from uncertainty. Or two, Letting the moment exist independently, relinquishing worry of possibilities. One my favourite elements in the film, is how both characters put their trust in the latter scenario.

Sunrise shows layers vanishing like brick walls disassembled. Early scenes show safe tension, later scenes show vulnerable understanding. Zany endeavours through exploration of town soften the duo’s willingness to open up. Real-time demonstration lies in Vienna’s record store, featuring “Come Here” by Kath Bloom. “No I’m not impossible to touch, I have never wanted you so much.” Lyrics echo through the booth clustered with uncertainty. Debate can be seen flowing in both sets of eyes. To take a leap toward physical intimacy or not.

Second-hand romance reaches out toward whomever is watching and creates a whirring sensation akin to butterflies, despite not being an active participant. Asking for a little patience, payoff occurs shortly after as a first kiss is shared between the two. Asking for an audience reaction of quiet nature, Linklater implies that big milestones can come in the form of secluded moments.

Upon a tram ride across the city, While telling Jesse a story, Celine’s hair has a strand that wanders. Jesses reaches for the strand but stops halfway, letting Celine fix it herself. A subtle gesture encapsulates progression. Body language shifts through connection, one of realities most honest gestures of affection. It’s a subconscious part of our interactions, so natural presentation on film was great to see. To many modern cinematic experiences make dramatic deals out of something an audience can clearly interoperate.

The most painful element of Sunrise, is knowing it’s end is near. Hoping for it to last, but knowing that separation is pending.

Identity is a big part of each instalment. In Before Sunrise this is presented via coming of age. The story starts where they have understanding of themselves, but they haven’t quite found their exact footing. There is still an uncertainty that lies within them. This meeting has a role in who they become, helping influence their path ahead. As the sun rises, so do Jesse and Celine.

Before Sunset (2004)

Before Sunrise and Sunset feel like a dreamy poem coated with realities ink.

Of the two entries sunset is my favourite. Awkward beauty of reuniting with a connection lost is what makes this successor stand tall. Sunset’s atmosphere is very dreamlike, using a unique combination of grain and saturation. The cinematography drives this further, having more intention on following rather than watching. This dreamy state is fundamental to the overall film because of the questions it asks; If you had a second chance, what would you do? How would it go?

A strength of storytelling design is showing grand romance outside of physical intimacy, creating an experience solely reliant on chemistry. Beautifully enacting Celine’s line from the first film, “If God exists, it wouldn’t be any of us or you or me, but in this little space in between”. proximity without final reaching becomes yearning.

The distance between these two characters after a decade can be best described as uncertain hesitation. While they fell for each other, time has passed and their own lives have been built since then. When together, no matter of times passing, there relationship blossoms when sharing experiences. Showing that important relationships are more than the opportunities granted, what you can do with someone, is often more important than what you can do for them and vice versa.

Celine’s song lies within the closing moments of Sunset and serves as a pivotal display of affection. An ultimate confession in serenade form. A song dedicated to Jesse and that fateful night 9 years earlier. A sense of understanding washes over both parties, with lyrics re-affirming the meaning of there time together. Jesse holding his hand over his mouth is symbolic of his over-joyed state, and Celine’s restrained tone shows her pushing through discomfort to express herself openly.

The sound design of this whole segment is wonderful. Brisk diegetic noises turn this from a scene to a snapshot of reality. Highlighted as Celine fiddles with coffee cups and Jess sets up a CD player. This is Followed by perfectly chosen musical entry “Just in Time” by Nina Simone, holding a very literal meaning.

Throughout this song, Jesse fiddles with his wedding ring. A reminder that to be together means to let go of his current relationship and forever impact his relationship with his son. It’s a great gesture to tell the audience that these characters know consequences will come, but when he and Celine are present together the world feels right.

I think that’s a big lesson to take away about both filmmaking and life. To be present is to be living fully. While rarely easy, the past is gone and the future is yet to come, what we do have, is the moment we are in. Personally attesting to the challenge, the reward is worth learning how to slow down.

In terms of filmmaking, offering this sense of immersion is not an easy feat. This style of film is a risk due to it’s simplicity, asking for audiences full engagement. Though an interesting premise was brought forward, one that teaches how to reach the hopeless romantic of all souls who pass by.

Circling back to identity, Sunset is the end of the individual lives that built as they know it. Accepting that to be together comes at the sacrifice of separated worlds. As the sun comes down, so do the versions of themselves that no longer exist.

Before Midnight was intentionally left out of this discussion. Midnight is set after the honeymoon phase has come and gone, with a couple learning how to build longevity whilst seeing what magic, if any, still lies between them.

Regardless of the trilogy’s end, Two powerful films proceeded it. A cinematic experience I recommend to most, and is one that we should revisit more often. The layers are nuanced and human, something that modern flicks should aspire to tap into. Linklater, Hawke, Delpy and the whole team can take a bow knowing that 30 years on, the perfection of romance shaped by there hands sits in the hearts of a whole new generation.

Until Next Time,

– Nick Roberts, April 1st, 2026