Over the course of four episodes, two young women – one from the city, the other from the country – meet and bond over an exquisite atmospheric event (‘The Blue Hour’), and then room together in Paris, where they encounter many of the inevitable characters of a modern city: the impossible waiter (‘The Waiter’), the metro station hustler (‘The Beggar, the Kleptomaniac and the Hustler’), and the snooty gallery owner (‘Selling the Painting’). –The Film Desk
The most subtle and traditional of the many luminaries launched to prominence as a member of the French New Wave, Eric Rohmer is also among the movement’s most consistent and enduring talents. Basing his work upon antecedents in literature as much as those in the cinema, Rohmer made his name crafting talky, feather-light romantic comedies and chamber dramas distinguished by economical camerawork, a warmly ironic tone, an affection for youth, and a fascination with place and time. His intensely personal private life — according to legend, not even his own mother knew he was an internationally acclaimed, albeit pseudonymously named, filmmaker — has stood in direct contrast to the emotional openness of his movies, which, in intimate and illuminating detail, explore the limitless entanglements, disappointments, and possibilities facing contemporary relationships.
Born Jean-Marie Maurice Scherer on December 1, 1920, in Nancy, France, Rohmer later relocated to Paris, where he worked variously… read more
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