Abstract

I argue that Before Sunrise, Before Sunset, and Before Midnight are best seen as an example of memento mori art. Memento mori, the admonition to remember death, can take many forms, but the idea remains the same, namely that an awareness of our inevitable end should bear on how we live. I show how Richard Linklater’s warning works in each of the movies and argue that with the Before trilogy he makes a Frankfurt-style case that romantic love is life’s summum bonum--i.e. "the ultimate ground of practical rationality."