Rendezvous in Paris (1995)
"Les rendez-vous de Paris" (original title)

Three stories of love and coincidence around the theme of dates in Paris.

Director:

Eric Rohmer

Writer:

Eric Rohmer

Stars:

Clara Bellar, Antoine Basler, Mathias Mégard

2 nominations.

Cast

Complete credited cast:
Clara Bellar	...	Esther
Antoine Basler	...	Horace
Mathias Mégard	...	Le dragueur - Flirt
Judith Chancel	...	Aricie
Malcolm Conrath	...	Félix
Cécile Parès	...	Hermione
Olivier Poujol	...	Le garçon de café - Coffee-shop waiter
Aurore Rauscher	...	Elle - Woman
Serge Renko	...	Lui - Man
Michael Kraft	...	Le peintre - Painter
Bénédicte Loyen	...	La jeune femme - Young Woman
Veronika Johansson	...	La Suédoise - Swedish Girl
Florence Levu	...	Mouffetard - Street Singer
Christian Bassoul	...	Musette - Accordion Player

Storyline

Different stories of young women and men coming together and coming apart in Paris' romantic settings, are organized in four distinct chapters: (1) Le rendez-vous de 7 heures / The 7 p.m. rendezvous; (2) Le lendemain... / The next morning; (3) Les bancs de Paris / The seats of Paris' parcs; (4) Mère et Enfant, 1907 / Mother and Child, 1907.

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Plot Keywords:

cafe | rendezvous | love | tourist | painter | 

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Genres:

Comedy | Romance

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Details

Country:

France

Language:

French

Release Date:

28 June 1996 (USA)

Also Known As:

Rendezvous in Paris

Filming Locations:

Basilique du Sacré-Coeur, Montmartre, Paris 18, Paris, France

Box Office

Opening Weekend:

$36,471 (USA) (9 August 1996)

Gross:

$730,099 (USA) (18 October 1996)

Company Credits

Production Co:

Compagnie Eric Rohmer (CER), Canal+

Technical Specs

Runtime:

94 min

Sound Mix:

Dolby Digital (Mono)

Color:

Color

Aspect Ratio:

1.37 : 1

User Reviews

Mixed trio of love stories in modern-day Paris

I first saw this in a cinema and was immediately disappointed with its low-budget production values. The sound and lensing is very poor, so much so that the blurred effect of the projected image eventually gave me a headache. However, the three individual stories of love save the film from its shoddy technical features. The first has a clever climax; while the second deals with complex issues in a sombre way, leaving the third to close this dynamic in its own unique fashion. The real star of the film is Paris itself, used as a constant backdrop to the trials and tribulations of the film. This is really a film for lovers of Paris rather than Rohmer's directorial style and is probably one of his most accessible film to date.