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 »
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 »
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 »
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 »
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 nice man, Gérald. At Isabelle's daughter's wedding, Magali eventually meets Gérald. But there's another man around, Etienne... Written by
Lars Von Trier and his Dogma95 crowd could learn a few things from the work of Eric Rohmer. This film also boasts a largely improvised script, is shot using available natural light, and has no post-dubbed score. I would imagine it cost a good deal less to make than Thomas Vinterberg's 'Festen', with its huge cast and 64 hours of rough footage to be edited down. But Rohmer's emphasis is on naturalism rather than a forced faux-naif, and the cinematography, though simplistic, makes good use of the natural beauty of the Ardeche landscape and its clear blue skies. There is also a story here, some beautiful performances, a slight whimsical humour rather than an ironic smirk, and warm, well-rounded characterisation. It is a sedately paced film, with no major themes, revelations or insights, but a bold and realistic portrayal of a host of characters who are seldom depicted on the cinema screen; the middle-aged rural bourgeoisie. Those whose cinematic demands consist of an endless barrage of sensual stimulation will be disappointed, but for a soporific Sunday afternoon viewing, it is very hard to resist its charms. Rohmer has been making films like these for decades (Pauline a la Plage, La Raie Verte), so the film is less conceived as a fist in the face to contemporary cinema than as another quietly confident offering from an established auteur of a truly alternative cinema with nothing more to prove.
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