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There is great coherence in his literal as well as figurative mirrors. While the most striking emblem of eternal return is the shot of Tomas and Sabina making love between two mirrors—reflected infinitely into the depth of the screen—other circular images express the theme as well. For example, Tomas rides a merry-go-round in Geneva; and when he visits Sabina there, their initial hesitancy is overcome when she places the bowler hat on her head: they twirl around passionately until the hat falls off, spiraling like a top as it falls by the mirror.
Seeing Tomas and Tereza again after Sabina receives the letter constitutes another example of eternal return: they are forever alive in the film’s loop. indd 31 An Eye for an “I” | 31 1/23/12 2:12 PM to support. When Tomas carries Tereza into room 6, her weight—or lightness—on his feet is bearable to him. She certainly has more “substance” than at the beginning: in this film where a window washer is really a surgeon, or a janitor an ambassador, only Tereza remains a waitress. But the greatest dramatic arc is hers, as she develops from an awkward provincial, to a photographer with political convictions, to a nurturer.
June can toy with a man—as in the scene where she convinces a ticket agent to give her passage to America despite a lack of cash—but her immortality is dependent on those who write about her. ) By contrast, Henry controls verbally, often after humiliation. While there is something childish and futile about his throwing paint on June’s photo, his words can lash and last. Visual details express him succinctly. First seen lighting a match on the sole of his shoe for a cigarette, Henry is a rough guy.