Cinematographer Nestor Almendros made his feature debut in 1966 when he photographed Éric Rohmer’s La Collectionneuse, and he worked with Rohmer on the three subsequent Moral Tales.

“The landscape and the setting can impose a certain style on a film. When Rohmer and I went to the Annecy region scouting location’s for CLAIRE’S KNEE (1970), he told me he wanted a Gauguin look….Rohmer shoots fast, but he doesn’t shoot all the time….He may arrive in the morning and do nothing concrete until noon. Though he may seem to be daydreaming, he acts with amazing speed when he decides what he wants….Since he has neither assistants nor a scriptwriter, Rohmer keeps track of everything himself….He’s open to any kind of suggestion as long as it has nothing to do with content. On this, he is inflexible.” — Nestor Almendros, A Man with a Camera (1984)

CLAIRE’S KNEE, Saturday, July 22, at 5 pm.

CINEFAMILY, 611 North Fairfax Avenue, Los Angeles.


Unlike the previous Moral Tales, Rohmer’s final chapter LOVE IN THE AFTERNOON (a.k.a. CHLOÉ IN THE AFTERNOON) is set in Paris, which allowed Rohmer to construct a fantasy sequence where the women from the previous Tales reappear on the street.

LOVE IN THE AFTERNOON, Saturday, July 29, at 5 pm.

CINEFAMILY, 611 North Fairfax Avenue, Los Angeles.


The July 29 screening will feature a DJ set by Jim Smith, from The Smell.

Both films will be screened in 35mm prints, courtesy of the Institut Français.

Danièle Ciarlet, a.k.a. Zouzou, in L’amour l’après-midi/Love in the Afternoon/Chloé in the Afternoon.


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