My favourite scene is towards the end, where Louise talks to the illustrator. It captures everything I love about Rohmer's work; the relaxed, conversational way that he develops his characters, the sense of nocturnal adventure, the moral dilemmas faced by characters unable to shape the world to their own whims & the metaphysical role that the elements & the cosmos play in providing a backdrop to the human experience.
3.5. Re-rating. Cinematography by Renato Berta. It was my favorite film of the comedies and proverbs series but this review- and each view is itself a particular moment- has highlighted the fact that its "natural", hidden direction, in relation to a deeper artificiality of the players game, reveals to be somewhat reducer. It's magnificent, still, Rohmer's subversion of shot-reverse shot's classical language.
Louise is one of the great Rohmer heroines, uncompromising, stubborn, indecisive, self-deceptive, but also incredibly self-aware. I can't think of any other director that depicts characters that are so frustrating to watch but that root to accomplish their dreamy obsessions.
It’s rare that I’m not moved by Rohmer’s uncanny ability to tear open our psyches and show us what we’re made of. Like The Green Ray, this is a film about a kind of restlessness that’s incredibly painful to witness. Painful in its familiarity. Near the end of the film, Louise tells a random man at a bar that when she’s in one home she wishes she was in the other. There’s no happy ending for someone this flighty
Rohmer conceived a lot of great female roles, but a good role is nothing without a great actress to fill its shoes. Here, Pascale Ogier shows what it is to fully embody a character and still be able to provide a personal touch that wouldn't be there were it played by somebody else. And what about the outfits, the dancing sequences, the scene in the motorcycle under the moonlight? One of Rohmer's greatest movies.
Probably the only romantic film to be established on geo-demographic principles. Talky in the best possible way and, even if Louise and Octave are each rather insufferable and self-centred, Ogier's and Luchini's performances win the viewer over. One of a number of great films Rohmer made in the 1980s.