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,
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,
A shy maths graduate takes a holiday in Dinard before starting his first job. He hopes his sort-of girlfriend will join him, but soon strikes up a friendship with another girl working in ... See full summary »
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 »
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 »
When one talks about the French New Wave, names like Godard and Truffaut would be the first to come to mind. And yet, I find that it is this severely underrated director, Eric Rohmer, who is probably the best of the lot. Rohmer's films are unique. I have never seen anything like them, and yet in a way they are all the same. The plots often contain similar outlines, and you pretty much know what you're going to get when you sit down to watch one of his movies. Perceval is different, to say the least. Not only has Rohmer left the settings of 20th century France to go back in time, he seems to have entered a parallel universe as well. Perceval exists in a world with painted backdrops, metal trees, fake castles and musical accompaniment to much of the dialogue. One of the things I love about Rohmer's films are that they are so unpretentious, yet remarkable. Such adjectives are definitely applicable to Perceval. It should appeal to all of those who have once had an interest in the legends of King Arthur, French cinema, for that matter cinema in general. Or, simply, just see Perceval if you want to see a brilliant and unique film.
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