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Apr 4, 2010 · There is no magical shoe to offer a guarantee of a happy ending, and indeed many of Rohmer’s heroines end his films lost, confused and lonely – Anne (Marie Rivière) in La femme de l’aviateur (The Aviator’s Wife, 1980); Sabine (Béatrice Romand) in Le beau mariage (A Good Marriage, 1982); Louise (Pascal Ogier) in Les nuits de la pleine lune (Full ...
- Night Moves Around Maud
Night Moves’ private detective Harry Moseby (Gene Hackman)...
- The Tale of Perceval Le Gallois and The Young Althusserians
For many reasons, Eric Rohmer’s Perceval le Gallois (1978)...
- Japanese Cinema at Miff 2000
At this year’s Melbourne International Film Festival (MIFF),...
- Steve Erickson
Steve Erickson - Love and Desire in Eric Rohmer’s ‘Comedies...
- Fiona Handyside
Fiona Handyside is a Lecturer in European Film at the...
- Issue 54
Issue 54 - Love and Desire in Eric Rohmer’s ‘Comedies and...
- Night Moves Around Maud
Aug 14, 2006 · These women, whose appearances resemble a series of theatrical curtain calls, turn out to be the previous stars of the Moral Tales, each signifying one of the female idiosyncrasies that taunts and mystifies Rohmer’s errant males.
Sep 14, 2020 · Rohmer made his name on Impressionistic aesthetics—his pictures stippled with vibrant colors and film grain—and sharp romantic dynamics between men and women.
Apr 4, 2010 · Genevieve Sellier maintains that Rohmer views women as objects of desire, and with detached curiosity, even respect and admiration, but ultimately relegates his subjectivity to a male-dominated narrative that positions females as “infinitely interesting and provocative ‘others’”.
Jan 20, 2017 · Below are eight films that typify why Rohmer stands alone as the greatest romance director of all time. Spoilers may occur. 1. La Collectionneuse (1967) The third of Rohmer’s moral tales, and his first film in color, La Collectionneuse was the film that announced the most relaxed practitioner of the New Wave on to the scene.
In short, Rohmer films are static, verbose, boring. But what was it that the late Andrew Sarris noted about Rohmer’s 1969 Ma Nuit chez Maud (the film Moseby has been invited to)?: there’s nothing more cinematic than the spectacle of a man and a woman staying up all night talking.
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Aug 3, 2024 · Rohmer presents Chloé as a woman who refuses to adhere to the rules imposed on women by traditionalism and the patriarchy, and that simultaneously scares and attracts Frédéric. When she asks Frédéric to give her a child – without expecting marriage – he is unsure what to do.
