Description: Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d’Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs. Continue reading
The portrait of a female student in the mid-60s Paris.
Eric Rohmer directs this short documentary that narrates the presence of women in French universities as of the time of its release — 1966. During the film’s short run, the narrator continues to point out that during the advent of World War II, only 21,000 women attended college and made only a 30 % of the student body, a number that by the 1964-1965 school year had passed the 120,000 mark. Instead of opting to live according to what was expected of them, now they were joining the work force, trading in aprons for lab jackets and becoming professionals even after getting married.
I recall this being something of a staple in French class back in the Eighties — as a matter of fact, several books on learning French published in the Sixties point at conversations that mention Une étudiante d’aujourd’hui
Source : IMDb Continue reading
Trainee designer Louise lives with her boyfriend, Rémi, in the outskirts of Paris. Whilst Rémi wants to get married, Louise is reluctant to let go of her freedom, and so she starts to spend part of her time in her apartment in the centre of Paris, believing this will strengthen their relationship. Things do not go quite as planned, however. Bored with her new solitary life in Paris, Louise sees more of her writer friend, Octave, and starts to flirt with a young musician, Bastien… Continue reading
Eric Rohmer was invited by la Fémis to meet all of its students around a particular theme: the link he establishes between his narratives economy and that of his films.
Indeed, it is known, this great filmmaker works on some budgets that are modest while his artistic ambition remains always demanding.
How is it the tension between economy and project aesthetics?
Eric Rohmer has assured this master class in relying excerpts from his films he has itself chosen.
This master class not have taken place without the valuable assistance of the producer Eric Rohmer, Françoise Etchegaray.
Recorded at 17 mars 2009. Continue reading
Although Eric Rohmer’s fresh, unadorned style rarely sits heavily on his films, The Romance of Astrée et de Céladon, his adaptation of 17th century writer Honoré d’Urfé’s 5th century fable of affronted love, not only features an usual absence of intellectual banter, but is more importantly the lightest and silliest the director has been in ages. These are not pejorative descriptions—the film’s wholesome delight in d’Urfé’s modest whimsy amongst the 5th century Gauls of druids, nymphs and many amorous declarations of assured sincerity and flighty infidelity, the director’s own sweet, unexpected eroticism, and the film’s gentle spirit simply make a work that is light, lovely, and strange.
- D. Kasman (D-kaz.com) Continue reading
In this first film in Eric Rohmer’s cycle of “Comédies et proverbes,” François (Philippe Marlaud), a young student working nights as a postman, is in love with a slightly older woman, Anne (Marie Rivière). One day, he sees Anne’s former lover, a pilot named Christian (Mathieu Carrière), leaving Anne’s apartment in the morning. Despite Anne’s explanation that Christian is now married to another woman and simply dropped by to talk, François becomes jealous. He starts spying on Christian in order to find out if his rival secretly sees Anne. Though François sees Christian meeting a different woman, he keeps following the pair. His pursuit leads him to a park where he meets up with a vivacious teenage girl named Lucie (Anne-Laure Meury), who becomes curious about his motives and agrees to help him in his detection.
~ Yuri German, All Movie Guide Continue reading
Vincent Canby @ The New York Times, August 27, 1982 wrote:
Like the major characters in most of Eric Rohmer’s comedies, Sabine (Béatrice Romand), the heroine of Mr. Rohmer’s new Le Beau Mariage, seems almost ordinary at first. She is pretty in a fresh but unspectacular way, articulate, and seemingly well adjusted to a kind of enlightened middle-class existence.
Part of the week Sabine works in an antique shop in Le Mans, where she lives with her younger sister and widowed mother, and the rest of the week she is in Paris, where she is studying—half-heartedly—for a degree in art history and carrying on a casual affair with a married painter named Simon. Continue reading