This is the film that started it all. The film that taught me about Twin Flames. I have watched it over and over and over. I absolutely detested it the first time, not really understanding the weight of the relationships being depicted. But the more I watched it, the more it all made sense. Realization came crashing down around me. I sympathized with the characters but I understood why things happened the way they did.
This film shows what happens when Twin Flame and Soul Mate collide. I can only suggest that you watch it multiple times, as there are many things to be discovered with each viewing. Also, the soundtrack and cinematography are AMAZING!!
I didn’t know whether or not my Twin was out there after watching this the first time, but I had a feeling that something/someone extremely special was waiting for me. I knew it. So hearing he was my Twin a year after was a small “ah ha” moment, although I deduced that much. It was more like, “well, of course he is.”…
Even though I knew of Twin Flames before the journey began(thanks to this film), it didn’t prepare me for what I would face. Nothing could have. But I’m here and there’s no going back. I know I’ve likened this all to Neo and the Matrix before but that keeps coming back to me. That’s what it is, there’s no going back to how it was before. My life has been divided into two parts. Me before this awakening, and Me now. Two wholly different beings. The latter being more attuned to the outer-world. Sometimes I look in the mirror and hardly recognize myself. All in all, I’m here. For a reason unbeknownst to me at the moment, I’m on this road with this amazing person beside me and no matter how fucking difficult it gets, I’m anxious to see it to the end.
tl;dr watch Cafe de Flore if the idea of twin flame/soul mates remotely interests you. And let me know what you think! It’s in French but should be streaming on Netflix with English subs.
[W]hat Foucault identifies as the twentieth-century sexual knowledge regime exemplified by the psychoanalytic culmination, around the beginning of the twentieth century, of a longer-term historical “deployment of sexuality” should be understood as a product of reification. Lukacs emphasizes, for example, the way in which specialized knowledges reify bodily attributes: the scientifically managed factory, in his analysis, reifies not only the body’s capacity for labor but skill itself. The factory expropriates, disembodies, and reifies the very technical knowledge of the production process. With the emergence of this regime of sexual knowledge, sexual desire is also reified: a bodily capacity is epistemologically abstracted in the form, for example, of qualitatively new heterosexual and homosexual subjectivities. This is an instance of of objective social abstraction with historical repercussions far beyond the specific history of Freudianism.
In an effort to avoid implicating himself in Engels’s dialectics of nature, Lukács makes an absolute, decidedly undialectical distinction between the social world of human beings and the world of nature, insisting that the human world operates dialectically while nature does not, and forthrightly excluding the world of nature from his analysis. … This absolute distinction between the history of human consciousness (or, perhaps more accurately, the history of humanizing consciousness, that is, proletarian consciousness) and the natural world implicitly but unmistakably situates the materially existing human body within the natural world.