Magali, 45, is a wine producer in the south of France. She's a widow, and her best friend, Isabelle, decides to find her a new husband. She puts an ad in the local newspaper and finds a ... See full summary »
Felicie and Charles have a serious if whirlwind holiday romance. Due to a mix-up on addresses they lose contact, and five years later at Christmas-time Felicie is living with her mother in ... See full summary »
Frédéric van den Driessche,
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 ... See full summary »
A careless mother hires a young tutor to bring up her son's marks, as bad in mathematics as in French language. The young woman tries to teach the boy the easiest things in the curriculum, ... See full summary »
A million miles away from 'Camelot' or 'Excalibur', this film ruthlessly strips the Arthurian legend down to its barest essentials. Arthur's knights, far from being heroic, are conniving ... See full summary »
Laura Duke Condominas,
Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust. Besides her student life she likes to stroll about Paris, to explore ... See full summary »
In Paris outskirts Blanche, a young clerk, befriends Lea, a girl livelier than she is. Lea is going steady with Fabien who is a friend to Alexandre who is going steady with Adrienne but is ... See full summary »
I admit that I avoided this film for years probably because most films that have dealt with the Arthurian legend have been pretty bad. So when I finally watch it this year during a retrospective of Rohmer's oeuvre, it was a surprise to find that this movie is really wonderful, and it ought to be better known. Based on Chretien de Troyes medieval book, the film is at times faithful to its literary source and at times very, very eccentric. The style is difficult to explain: the movie wallows in its deliberate artificiality, with its cardboard sets, its wooden acting, and its impromptu (and wonderful) medieval songs. And to top it all, the movie ends with a long rendering of a medieval mass. The movie has a lot of humor actually, which is fairly unusual in Rohmer films, a humor that is very self-conscious and is very 20th century (brechtian distance is a phrase that comes to mind when you watch this film), yet at the same time, the film sometimes looks as a film that could have been made in the 12th century, had the technology been available back then.
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