Eric Rohmer’s mostly faithful staging of Heinrich von Kleist’s play Käthchen von Heilbronn. It was taped in 1979 at the Theatre des Amandiers, Nanterre for broadcast on French TV. After Die Marquise von O…, this is Rohmer’s second Kleist adaptation, and it features a lot of familiar faces in the Rohmersphere.Read More »
Rosette, Eric Rohmer – Les aventures de Rosette AKA Rosette par Rosette AKA The Adventures of Rosette [+Extra] (1982-1987)
A series of five stories told by Rosette about her vacation.
“In the early 80’s, I started shooting Rosette’s adventures in Super 8. They were vacation films made in complete freedom with a family of friends I met in Eric’s world (Arielle, Pascal, Marie, Amanda, Béatrice, Virginie, François-Marie…). Eric, who had a camera, took care of the image and this allowed him to practice while having fun, sometimes he even played a small role. This lightness inspired him, I believe, for films like Le rayon vert or Quatre aventures de Reinette et Mirabelle.”Read More »
In the second of Rohmer’s moral tales, he examines the relationship between two friends and a girl who at first appears easily exploited. It is a complex tale of feelings and misconceptions, acted out within the head of the main character, as part of Rohmer’s attempt to more easily simulate the mindscape quality of literature within a film.Read More »
An extremely rare episode of Cinéastes de notre temps directed by Eric Rohmer based of a series of articles written in Cahiers du cinema in the 1950s.Read More »
Interview in Copenhagen with Dreyer (speaking French). Also features Anna Karina, Preben Lerdorff Rye, Henrik Malberg, Lisbeth Movin, Jørgen Roos, and Bendt Rothe. First aired 8 April 1965 on ORTF (2?).Read More »
How to stay at your lover’s side (who’s married to another woman) all day long without anyone noticing…
Charlotte Véry Read More »
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)Read More »