"To watch is to love, as we see in the scene where Damiel, having fallen for Solveig Dommartin’s trapeze artist, Marion, loiters in her trailer, and is galvanized when she begins undressing. He tries to touch her but cannot. Like James Stewart in Rear Window, the angel can only watch, and he is as much defined by his helpless voyeurism as we are in the audience. On one level, the angels are pure-hearted documentarians, bearing witness to life (cinema began as documentary, after all), yet their work is not action but attention. Is there a culpability inherent in the distance of being an observer? (Michael Haneke, among others, has clearly thought so.) Damiel is an idealized surrogate for us and our role, hypnotized and passive and all too human; and if Hitchcock’s film was about the anxiety of viewing, then Wenders’s is about its melancholy, its beauty, its final limitations." - triple t from Bookmarklet