It begins with a shot / reverse: from the front, a motor boat on a vast expanse of water, mountains in the distance (assumption: the Mediterranean); back, the same boat, entering a channel over which rises an arched bridge of iron green (Assumption: the Canal Saint-Martin). So we think: cinema (and editing) allow () shortcut: continuity of action but not of place. Not at all: this place on both sides are so dissimilar, understandably a bit later, it Annecy lake and the city, mountains and the bourgeoisie. So we think the cinema, but checking inconsistencies of the real (and editing, therefore, produced the first suspicion of manufacturing a device, prior to contradict this suspicion). Rather than eschewing that film's own power, Rohmer's cinema is witness to the power of a place. The human binding, film cutting, and in so doing, demonstrates the extraordinary diversity of views from the same point of view. The film tackles many. And wondered where to look (and not: what to see?).
See, it is discussed in Claire's Knee . The Friend of Jean-Claude Brialy said about a tapestry that has her "heroes of history were always blindfolded. The viewer sees in them what they do, what they might do this next to what they spend. In sum, Rohmer is a Brechtian give focus to the bourgeois, taking the big question that runs through the film of the 70s: fantastic or not to sleep? The heroes of the films of Rohmer multiply the possible choices until one is needed for itself. This knee perched on a ladder crystallizes the attention of an already very busy man, however, by his future wife on the one hand, and the other by a flirtation. The knee of the girl is an unexpected, a sudden appearance: of course, that knee is attached to the leg for many years, but it was enough that the man the way for him to take a different look, a different importance the point of changing the life of this man and his decisions should not be adopted.
"When I'm bored, so I'm next anyone, I feel like it, "said the young girl of 16 years Brialy tries to seduce. Rohmer is fascinated by the architecture (modern, among others), fascinated by what is a place and the way that this place has to influence the trajectories human condition the meetings. This is the case in The Baker of Monceau , whose history could take place elsewhere than Monceau or it would take place otherwise. Because the town has subtly suggested the meetings. If men will move a certain way, their feelings as follow but invisible lines drawn in advance. For it is never next to anyone: it is next to the man or woman that the city has kindly put there - so do we like that or that the city imposes on us.
Rohmer's passion for architecture is not confined to places, but also to people, feelings, flirting, at such times. Everything is built, traffic coexistence. The narrative of the jerky Claire's Knee is a marvel: the period of a month when a man comes back to Annecy for the holidays, Rohmer will count each day. And we will run a day to day conversations, abandoned at such an hour, repeatedly the next day as if in the meantime everyone was gone for the following words. Words, dialogue, thoughts, are the son that bind them on days when they could dilute the boredom of summer dormant.
Rohmer thus explores the spaces, and is particularly interested in spaces left vacant, for what they are opening possible. In Suzanne's career, there is an evening at Bourg-la-Reine in a big mansion inhabited by a student whose mother is a trip. And while all the action and all the characters accumulate in the same room to simulate a seance, Rohmer filmed the empty rooms, deserted by the need of the moment. Somewhere something meets and rushes - the other is waiting, but his time watching. The presence of this uninhabited area concerned.
That afternoon left vacant as the hero of Love afternoon - architecture of a timetable. The days of this man are well adjusted, industrious, family, unsuspected. But his afternoons Flâneuse lead him to a meeting that could jeopardize his family life. One afternoon, he must choose - and have weep overview in this free time that his life might have been. To have seen the immensity of non-being. Great sobs enigmatic, drafts, confused, and conclude the film reveals the devastating power vacuum now flirting, and flirting become too serious. Rohmer takes very seriously the void.
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