Films byTexts by Eric Rohmer
Éric Rohmer, 1982, 93’

In the second installment of Eric Rohmer’s ‘Comedies and Proverbs’, obsession meets indifference in the form of a young art student (Béatrice Romand) who is determined to leave the bohemian life and marry a successful lawyer (Andre Dussollier).

Éric Rohmer, 1996, 113’

A shy maths student goes on holiday to Dinard before starting his first job. He hopes that the girl he is in love with will accompany him, but soon makes friends with another girl who works in the village. She in turn introduces him to yet another girl who has her eye on him.

Éric Rohmer, 1987, 103’

In the outskirts of Paris a young clerk called Blanche befriends Lea. Lea is going steady with Fabien who is a friend to Alexandre who is going steady with Adrienne but is however loved by Blanche. Somehow a way has to be found to get out of this emotional chaos.


Éric Rohmer, 1981, 106’

François works at night and loves Anne, who works during the day. This results in them never seeing one another. One morning, he sees her leaving her house with an airline-pilot. In the afternoon, instead of sleeping, he wanders the streets and recognises the pilot with another woman.

Éric Rohmer, 1972, 97’

Frédéric’s perfectly ordered life passes by pleasantly enough. He’s married to the woman he loves, is the father of an adorable little girl, and has set up a prosperous business with a colleague. He even has free time to enjoy the pleasures of Parisian life.

Éric Rohmer, 1970, 105’

Why would I tie myself to one woman?” asks Jerôme in Le genou de Claire, though he plans to marry a diplomat’s daughter by summer’s end.

Éric Rohmer, 1986, 99’

Jules Verne’s novel of the same name provides the loose inspiration for the story of Delphine (Marie Rivière), a dreamy, introverted young secretary who, reeling from a breakup with her boyfriend, faces the anxiety-inducing prospect of spending her summer vacation alone. Eric Rohmer

Éric Rohmer, 1967, 89’

A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men.


Frieda Grafe 1967
Vertaald door

Daniel becommentarieert zijn onderwerp: “Met schilderkunst moet je jezelf in de vingers snijden.” Voor hem en Rohmer gaat het erom de kunst tot leven te brengen die niet geschikt is voor musea. Om met een beeld van de film te spreken: vazen zijn er in de eerste plaats om bloemen in te zetten.

Article NL
Frieda Grafe 1995
Vertaald door

Met het CinemaScope-formaat, zo schreef Eric Rohmer in zijn recensie van Premingers The Court Martial of Billy Mitchell, verandert niet de stijl maar de ethiek. De overeenkomst tussen inhoud en shotverhoudingen is niet van fysieke maar van morele aard.

Éric Rohmer, 1984, 101’

Counterpart of Love in the Afternoon from the point of view of I. (1) She likes to go out. He doesn’t. Besides, she sees that she likes to go out without him. He plays a sport she doesn’t like. She goes out with K., pretending they are a couple. But she would like not to go home.

prisma NL

In Conte d’été (1996) vertelt Éric Rohmer met kleuren. We zien blauwe lucht, grijs zand, rode kledij en roze lijven.

Éric Rohmer, 2007, 109’

« Ce qui m’intéresse davantage c’est ce que le français actuel a perdu par rapport au français d’autrefois, à savoir certainement la clarté et l’articulation. J’aime que les gens articulent, et je ne pense pas que cela enlève la spontanéité.

Éric Rohmer, 1995, 98’

Aricie: Les coïncidences, ça existe !


« À Paris, les rendez-vous

Ne sont pas toujours pour vous.

Il y a souvent des surprises,

Il y a parfois des méprises.

Tout cela fait des histoires,