Analyse très fine. Ma scène favorite est peut-être celle où Delphine explique, de façon un peu bête, devant des gens également un peu bêtes mais différemment, pourquoi elle est végétarienne. C'est bouleversant.
This 🎥 film was improvised and it does show at times but it’s still a masterpiece in my opinion. One of the tricks Rohmer manages to pull off (almost miraculously given how irritating and precious she can be), is to make us care about Delphine’s fate. Also anyone who thinks Rohmer lacks humour should check out the hilarious Biarritz scene where the 2 gauche losers on the make try to woo Delphine and her rather luscious Swedish friend. It’s just glorious. And the ending, (oh the ending) quite simply one of the most beautiful endings in the history of cinema. I cry every time, notwithstanding the irritation Delphine provokes in me. I’m totally rooting for her by this point. One final thing: this movie has a brilliant scene where Delphine mounts a valiant defence for the merits of vegetarianism and she does it in such a sweet (yes, she can be sweet) non-hectoring way that I came away seriously questioning my stance vis-a-vis meat-eating as an unintended consequence. I totally get the naysayers who declaim that watching Rohmer is like ‘watching paint dry’ ( *Night Moves* ); but everything that really matters in a Rohmer film is unseen, ironically, given his brilliant sense of place and setting in all his films. This sense adds to the rich tones of all his movies but the nub of a Rohmer film is hidden from sight as everyone talks in and round and through everything in a (not always vain) attempt to make sense of things.
This 🎥 film was improvised and it does show at times but it’s still a masterpiece in my opinion. One of the tricks Rohmer manages to pull off (almost miraculously given how irritating and precious she can be), is to make us care about Delphine’s fate. Also anyone who thinks Rohmer lacks humour should check out the hilarious Biarritz scene where the 2 gauche losers on the make try to woo Delphine and her rather luscious Swedish friend. It’s just glorious. And the ending, (oh the ending) quite simply one of the most beautiful endings in the history of cinema. I cry every time, notwithstanding the irritation Delphine provokes in me. I’m totally rooting for her by this point. One final thing: this movie has a brilliant scene where Delphine mounts a valiant defence for the merits of vegetarianism and she does it in such a sweet (yes, she can be sweet) non-hectoring way that I came away seriously questioning my stance vis-a-vis meat-eating as an unintended consequence. I totally get the naysayers who declaim that watching Rohmer is like ‘watching paint dry’ ( *Night Moves* ); but everything that really matters in a Rohmer film is unseen, ironically, given his brilliant sense of place and setting in all his films. This sense adds to the rich tones of all his movies but the nub of a Rohmer film is hidden from sight as everyone talks in and round and through everything in a (not always vain) attempt to make sense of things.
Dommage que certaines actrices "rohmérienne" aient été peu vues ensuite (Marie Rivière, Amanda Lenglet, Béatrice Roman .....), pour nous elles restent "Rohmériennes" pour toujours figées pour notre plaisir ...... ceci à l'opposé des F Luchini, A Dombasles, M Poulpaud qui font de belles carrières
Pourquoi dire que ya que dans le cinéma français qu'on peut faire ça ? Hong Sangsoo ne m'a l'air pas bien loin non plus de cette idiotie (au sens de Clément Rosset) assumée. Hong Sangsoo, véritable héritier du Rayon vert!!
Analyse très fine. Ma scène favorite est peut-être celle où Delphine explique, de façon un peu bête, devant des gens également un peu bêtes mais différemment, pourquoi elle est végétarienne. C'est bouleversant.
This 🎥 film was improvised and it does show at times but it’s still a masterpiece in my opinion. One of the tricks Rohmer manages to pull off (almost miraculously given how irritating and precious she can be), is to make us care about Delphine’s fate. Also anyone who thinks Rohmer lacks humour should check out the hilarious Biarritz scene where the 2 gauche losers on the make try to woo Delphine and her rather luscious Swedish friend. It’s just glorious. And the ending, (oh the ending) quite simply one of the most beautiful endings in the history of cinema. I cry every time, notwithstanding the irritation Delphine provokes in me. I’m totally rooting for her by this point. One final thing: this movie has a brilliant scene where Delphine mounts a valiant defence for the merits of vegetarianism and she does it in such a sweet (yes, she can be sweet) non-hectoring way that I came away seriously questioning my stance vis-a-vis meat-eating as an unintended consequence. I totally get the naysayers who declaim that watching Rohmer is like ‘watching paint dry’ ( *Night Moves* ); but everything that really matters in a Rohmer film is unseen, ironically, given his brilliant sense of place and setting in all his films. This sense adds to the rich tones of all his movies but the nub of a Rohmer film is hidden from sight as everyone talks in and round and through everything in a (not always vain) attempt to make sense of things.
This 🎥 film was improvised and it does show at times but it’s still a masterpiece in my opinion. One of the tricks Rohmer manages to pull off (almost miraculously given how irritating and precious she can be), is to make us care about Delphine’s fate. Also anyone who thinks Rohmer lacks humour should check out the hilarious Biarritz scene where the 2 gauche losers on the make try to woo Delphine and her rather luscious Swedish friend. It’s just glorious. And the ending, (oh the ending) quite simply one of the most beautiful endings in the history of cinema. I cry every time, notwithstanding the irritation Delphine provokes in me. I’m totally rooting for her by this point. One final thing: this movie has a brilliant scene where Delphine mounts a valiant defence for the merits of vegetarianism and she does it in such a sweet (yes, she can be sweet) non-hectoring way that I came away seriously questioning my stance vis-a-vis meat-eating as an unintended consequence. I totally get the naysayers who declaim that watching Rohmer is like ‘watching paint dry’ ( *Night Moves* ); but everything that really matters in a Rohmer film is unseen, ironically, given his brilliant sense of place and setting in all his films. This sense adds to the rich tones of all his movies but the nub of a Rohmer film is hidden from sight as everyone talks in and round and through everything in a (not always vain) attempt to make sense of things.
tellement d'accord ! Quelle intelligence !
Analyse d'une grande justesse de Christophe Honoré!
Merci
Dommage que certaines actrices "rohmérienne" aient été peu vues ensuite (Marie Rivière, Amanda Lenglet, Béatrice Roman .....), pour nous elles restent "Rohmériennes" pour toujours figées pour notre plaisir ......
ceci à l'opposé des F Luchini, A Dombasles, M Poulpaud qui font de belles carrières
Pourquoi dire que ya que dans le cinéma français qu'on peut faire ça ? Hong Sangsoo ne m'a l'air pas bien loin non plus de cette idiotie (au sens de Clément Rosset) assumée. Hong Sangsoo, véritable héritier du Rayon vert!!
ah c'est pour ça que les films de Christophe Honoré sont aussi chiants... contrairement à ceux de Rohmer qui lui avait du talent