• In the following remarks, I introduce Jean-Luc Marion’s categories of his phenomenology of the given and of the erotic in the narrow context of one film, Paul Thomas Anderson’s “Magnolia” (1999). Apart from using Marion’s terminology as a set of analytical categories, I also apply his method of the socalled ‘third’ phenomenological reduction, the reduction to givenness, to inquire into the central topic of this article – love at loss.