Félicie vit un amour de vacances merveilleux avec Charles, mais à cause d’un lapsus idiot, lorsqu’elle lui communique son adresse, elle perd toute trace de cet homme. Naît une fille Élise. Elle continue à vivre avec le souvenir de cet amour.
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Has some of the most romantic scenes I have seen in cinema, shot with poetic, unpretentious simplicity, in the first quarter of the film, displaying an ability to show what the discovery of intimicy is between a couple falling in love.
Rohmer is, among his 60's Nouvelle Vague colleagues, the only one who actually acquired the movement's faithful characteristic in his cinema. A cinema hard to handle where the plot is nearly inexistent and the philosophy of the character's feelings is what thrives to give us a story we can track down until the end. Hereupon, this one is his greatest work. If you find yourself loving this one, watch everything else.
The "naturalness" of the banal in which Romer specialized, and the banality with which the artistic is drawn, may present vices that limit the range of its possibilities, corroborated by the reiteration of his fictions. In addition, the Shakespeare's theatrical extract is spurious. However the ending, specifically jansenist, of an everyday expectable Grace, is absolutely celebratory and convivial.
I'm not handsome, nor comely; not youthful nor of philosophical bent; lives I see around me are not filled with epiphany nor Deus ex machina; whatever my tastes in film, unfortunately they don't accommodate Eric Rohmer's Tale of Winter, nor its dialogue. Since Rohmer is so well-regarded in arthouse/cinephile circles, I fear my abilities of understanding are possibly weak or corrupted in certain
A very nice piece--nice overlay with the Shakespeare bit and the woman encased in the glass coffin. Very subtle and effective use of metaphor and delicate narrative cues. If you can withstand the typical saccharine Rohmer ending, a pleasant and worthwhile film. Good show.