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LES AMOURS D'ASTRÉE ET DE CÉLADON

Éric Rohmer France, 2007
The movie is a daringly straightforward translation of an archaic work, complete with lengthy metaphysical debates about the nature of love and the essential monotheism of Druidic religion.
juillet 24, 2018
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With his last film, Eric Rohmer left the stage with an audacious flourish, infusing a fifth-century pastoral fantasy with a lifetime of stories, passions, and big ideas... The crucial moments are dialectical—a disputation between a faithful lover and a capering libertine, a druid's pagan proof of monotheism and the Trinity. As a result, it takes Rohmer a long time to reunite the original pair, but from love delayed, he asserts, music, painting, poetry, architecture, and religion are born.
septembre 8, 2017
Éric Rohmer's last film is a rare thing: an enthusiastic engagement with literary pastoral at its most mannered... In the main, and especially in the film's many nature scenes, Rohmer eschews high style in favour of a naturalistic kind of filmmaking that is less reminiscent of seventeenth-century Baroque than of the Romantic and nineteenth-century landscape traditions.
mars 17, 2017
Movie Morlocks
Love and fidelity again come into alignment, and [Astrea and Celadon] embrace in a new, tear-stained awareness of the other's truth. It is an ending of ecstatic revelation, one only rivaled by The Green Ray in Rohmer's work. And in a career forever concerned with exposing the feminine in his personality, to end with a scene of cross-dressing, of entering into the female domain and learning its secrets, is a lovely wish-fulfillment fantasy for one of cinema's great directors of women.
juillet 26, 2016