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Mar 24, 2021 · Looking Behind Éric Rohmer’s Cinematic Style. There’s a radically conservative twist to the lyrical intellectualism of the French filmmaker’s work. By Richard Brody. March 24, 2021. Éric Rohmer’s...
His style was famously criticised by Gene Hackman's character in the 1975 film Night Moves who describes viewing Rohmer's films as "kind of like watching paint dry". [9] Rohmer was a highly literary man.
The Cinema of Eric Rohmer combines history and criticism, and offers in-depth analysis of the themes and ideas in each of Rohmer’s twenty-three films, illustrating the complexity of their cinematic style and their non-stop engagement with reality, providing a timely rebuttal to Harry Moseby.
- The Bakery Girl of Monceau. 1963. Delicate and jazzy, The Bakery Girl of Monceau, the first entry in the Six Moral Tales series, evinces stirrings of what would become the Eric Rohmer style: unfussy naturalistic shooting, ironic first-person voice-over, and an “unknowable” woman.
- Suzanne’s Career. 1963. Bertrand bides his time in a casually hostile and envious friendship with Guillaume. But when Guillaume seems to be making a play for the spirited, independent Suzanne, Bertrand watches disapprovingly.
- My Night at Maud’s. 1969. In My Night at Maud’s, the brilliantly accomplished centerpiece of the Six Moral Tales series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of 1960s cinema.
- La collectionneuse. 1967. A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway.
Dec 26, 2014 · The first is a film in the vein of Hitchcock (and Rohmer even makes a Hitchcock-style cameo appearance in it).
Apr 18, 2024 · Eric Rohmer, French motion-picture director and writer who was noted for his sensitively observed studies of romantic passion. Rohmer, who was considered to be part of the New Wave, was most celebrated for his three film series: the Moral Tales, the Comedies and Proverbs, and Tales of the Four Seasons.
