5 Film Clips
The group dines at Hadrian's villa and discusses the importance of their location: where the ideas behind modern architecture began. Kracklite narrates his growing worry over his stomach pains and must leave the meal to vomit in a cloister hall. Meanwhile, his wife and Caspasian openly display affection for one another amongst the crumbling ruins.
The precursor to the affair between Kracklite and Flavia, this scene reveals their shared interest in photography. Kracklite flips through stolen postcards while he and Flavia photograph the muscular stomachs of statues in Piazza Navona.
Kracklite, his wife, and their Italian co-workers celebrate the start of the Boullée exhibition with a welcome dinner in front of the Pantheon. Kracklite makes a toast to Boullée, and his wife cuts into a large white cake of Boullée's architectural design. The scene introduces the themes and imagery of architecture, gluttony, physical health, gravity, and promiscuity.
This second Pantheon dinner scene clearly refers to the first opening scene with some significant changes: Kracklite is now a druken aggressor who intrudes on a peaceful evening. His entire life has fallen apart, and he expresses his distress and anger to two the dining strangers. He is forced to leave the restaurant, and he bitterly scorns the Pantheon which now seems to loom mockingly behind him.
In the final scene of the film, Kracklite's wife is called upon to cut the ceremonial ribbon for the opening of the Boullée exhibition (recall when she cut the cake during the first Pantheon scene), and as a new life is born, Newton's law of gravity finally triumphs over Kracklite and his deteriorated body. Kracklite is cast as a martyr figure in the repetition of his Christ-like body positioning throughout this final scene.