A winner of Best Screenplay at Venice, Rohmer’s final ‘Four Seasons’ entry is an incisive and revelatory take on finding romance at a much older age, featuring two outstanding performances by Marie Riviere and Beatrice Romand.
Three quite indelible stories about people in love (or not) as coincidences threaten to derail their intimate intentions in this charming Rohmerian comedy set around the beautiful spaces of Paris.
There is a sense of both melancholy and hope in this strong effort by Rohmer as he fashions a drama about the unwavering faith of a single mother who believes in her own idiosyncratic conception of love.
This is one of Rohmer’s more styleless films, though it is inherently more political than most of his output as he intellectualises the nature of political ecology, which may occasionally if unexpectedly come across as a tad dry.
Rohmer’s decent first entry in his ‘Four Seasons’ anthology may seem bright and airy, if only to serve as a direct contrast to the undercurrents of discord and antipathy among loved ones and acquaintances.
A delightful Rohmer omnibus as four short films featuring the two titular characters—one a countryside girl, the other a city girl—give us an intellectual if light-hearted take on how independent women can thrive in a manipulative society.
Shot like a stage play on a minimalist set, Rohmer’s experiment with narration and storytelling about a man who dreams of becoming one of King Arthur’s knights is interesting but may be a tad too long.
An anomaly in Rohmer’s filmography, this beautiful if minimalist period costume drama about a woman who doesn’t know how she got pregnant feels like a stage exercise rather than an embracing, organic work.
Arguably Rohmer’s most iconic ‘moral tale’—the plot of an older man’s fetish for a teenage girl’s bare knee makes for great philosophical musings about the nature of lust and love.
Rohmer’s first feature might not have been as lauded as his counterparts’ more groundbreaking works, but its exploration of luck (or lack thereof) through one man’s misery was arguably the closest a French New Wave film had been to acknowledging its neorealist influences.
Eternality Tan 