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1. A group of mourners on their way to a funeral aboard a train, who are suddenly awakened by the child among their number to the fact that the coffin containing the body of the man they’re going to bury is being visibly bourne alongside the train by a car on the highway. Epiphanic.
2. A love scene in the same train’s bathroom compartment between two men which is so ambivalent and vulnerable in its decipiction of homosexuality that it momentarily attains to a universal tenderness which transcends mere Eros. The two lovers being unable to really have intercourse at first, and just collapsing into each other’s arms to cry and be mutually consoled, before one of them rubs the other’s naked bottom in an act that is seemingly done primarily to comfort rather than to titillate.
3. What John Demetry aptly identifies as the the angelic quality of the ending sequence, in lieu of its beautiful helicopter shots and otherworldly transformation of eroticism. Wherein a man on the outskirts of a gay love triangle involving the two aforementioned men, seems to leave the world behind in a Viscontian apotheosis (alla “The Leopard”) after seeing the two sexually embracing in their hotel room window. From there, on his way by car to the stunningly large graveyard at Limoges where the dead man at the center of the plot is buried, the man observes evidence on the street that a troubled coupling between a certain man and woman has been healed over the latter’s pregnancy. We next see the man walking amongst the grave stones, oddly free and serene, before flying forward with our angelic (helicopter) POV, past the ends of the graveyard and over the trees into the surrounding landscape of Limoges.
