How wonderful to discover Rohmer’s world. I had a pleasant experience with “Night at Maud’s” two years ago, but having engaged deeper into my watching and study of films I had not expected to feel such elation after this here.
First of all, to get it out the way, we have the clever trick here of placing the writer of the film in the film. There even is an inside joke about this where our man is told to wait patiently outside as the writer still has “one page to finish”, marking the start of the final act.
Everything else is your usual Rohmerian exercise in staging. This is where I dismiss Breillat and welcome Rohmer. With Breillat the articulations are abstracted from the life of the characters, or rather the distance is too wide. With Rohmer, the self-comments are woven into the life and this execution is so precise that the constant talk engages.
I recommend this if you ever wish to lay your own personal thoughts and emotions (the movie of yourself) on top of a film so as to challenge or enrich your notions of life. The stillness that pervades allows this floating of your conscience. You can walk out having seen three movies: the one here, your personal movie, and the one resulting from the overlay, that you will carry with you to reflect upon.