Alicia I love this movie so much

Taraparain Tells a fascinating and unsettling true story, and does so well, without pretending to have all the answers.

Bob This is one of the best movies I’ve seen in a very long time. You have to go and see this on the big screen.

Phillipa Strong acting helps the film overcome an uncertain premise and create characters that hold our attention absolutely.

fiachra23 Rohmer's subtlety in this film is approaching completion. There is a moment that I notice that went unnoticed but my opinion is essential in film flow. When Aviator and pass by Francois and his wife Lucie, Lucie says out loud in German Aviator returns (probably German aviator known) surprised. Lucile pretends he does not know what she said when in fact is very clear: "So you're ongoing to marry." Moment that completely changes the course of the film (which only apparently does not change). It is exactly the same method used by Flemish painters who were hiding in paintings seemingly trivial details surprising, subtle, encrypted messages. Brilliant film, perhaps one of the best I've seen....

lasttimeisaw Now I can safely deem I have reached an approximate age to watch Rohmer's canon, mid-30s is a ripe age to broach more cerebral film viewing activities, so my first and random pick is THE AVIATOR'S WIFE, Rohmer's first part of Comedies et Proverbes (6 parts in all) series. The film is capsulized in one-day's span, Francois (Marlaud), a young student whose night shift makes the relationship with his girlfriend Anne (Rivière) in strain, after witnessing Anne left with her ex-lover Christian (Carrière) from her apartment in the morning, and later a sour altercation with Anne, a jealousy-driven Francois compulsively follows Christian and his blonde companion (Caillot), and by happenstance he meets a 15-year-old schoolgirl Lucie (Meury), the two improvise an amateurish but perky private detective team until they find out Christian goes to visit a lawyer. After Lucie departs, Francois visits a stress-inflicted Anne, it seems they reconcile and Francois figures out who the blonde is. When the night falls, Anne is out for an exhausting date and Francois accidentally finds Lucie kiss another boy, so he sends a postcard to her and put a closure to their stalking adventure, the story ends. There is no big twist or melodramatic plots in Rohmer's film, he masterfully recounts the dribs and drabs of emotions pestering one's relationship and daily lives, visceral and empathetic, he unerringly captures the quirks and fluctuations of the characters he writes, no larger-than-life frills, everything returns to an authentic basis which reflects its transfixing mojo, for example, the intricate discovery of the blonde's identity is casually schemed, but never condescending or audience-pandering, truth reveals itself in its most trivial form, also in the park, when Lucie intends to take a Polaroid from two tourists, it is lifelikeness never feel redundant in spite of its overlong progress which would be trimmed in most cinematic presentations, but Rohmer is confident to let his audience to savor the subtle interactions among the players and keeps it vibrant. The sad trivia of the cast is Marlaud would soon die in a tragic camping tent fire accident after completing this film, he was only 22, in the film he interprets a sensitive and diffident boy, who is smitten with Anne, an independent working girl 5 years older than him, their on-and-off rapport is under close scrutiny, and Rivière takes on a more difficult role and dominates the screen especially during her expository declaration of her credo in self-reliance in her tiny apartment. Meury is a delight in the midstream, maybe too quick-witted for a 15-year-old, but her natural self-confidence could easily win audiences over. The titular wife only exists as a glimpse on a picture, whose back-story would illicit another film feature to expound an existential individual's philosophical quandary about affection and compromise. Sadly, there is no Rohmer in this world anymore.

kickall It's always fun watching Rohmer's heroes and heroins develop their characters in a 90-min of story-telling.The aviator Christian shows up talking for 5 minutes in the beginning, and then he turns to just a subject that we all audience, including François, have to know him from how Anne will describe him and how Lucie will envision him.The audience can only see aviator's wife once from a photo Anne posses, but till we see it, including François, we learn all of our assumption made from Lucie's smart guessing will need to be re-assumed otherwise.The last five minutes of the movie indicates François will get himself to be going after Lucie, for he is made believe Lucie may not seem as straightforward as he felt. His role somehow imitates to Christian now.So much fun with so minimal resources of moving making. Solute Eric.

Bob Taylor TFO, an Ontario network, has been showing Rohmer films in rotation for some time. This one is new to me. A young man works the night shift at the post office to finance his studies. His girl friend works days, so their relationship is haphazard, to say the least. He believes she cheated on him with an older man--the pilot--so he spies on the pilot to find out more... I can't find much to like about these people. Anne is neurotic and manipulative, as well as a liar when it suits her, and it's obvious why Francois loves her: he wants a mother-figure. Marie Riviere has always been unpleasant to watch; here you want to slap her. Lucie is another in a long line of sprightly teenage girls that Rohmer loves so much. Anne-Laure Meury displays a lot of charm as she tries to get Francois to talk about himself. Her acting provides the only moments of freshness and openness in this story.Rohmer has tried to make this film in the youthful style of the New Wave, using 16mm fast film and portable cameras, and it works very well in the greenery of the Buttes-Chaumont.