Tag Archives: Éric Rohmer

LOUIS GARREL — A FAITHFUL MAN

I had better sex with other guys while thinking of him.

The quote above—a characteristic aside from one of the female leads in Louis Garrel’s A FAITHFUL MAN, the actor’s second turn in the director’s chair—refers to Abel (Garrel), a man of little agency in a romantic game of chance, seemingly happy to shuttle between Marianne (Laetitia Casta) and Ève (Lily-Rose Depp).

Abel and Marianne were lovers, until she announces—in the film’s first few minutes—that she is pregnant, and the father is their close friend Paul. Fast forward a decade and Paul has just died. Abel reconnects with Marianne at his funeral—a reunion witnessed by both Joseph (Marianne and Paul’s son, played by Joseph Engel), and Paul’s younger sister Ève, who has always had an unrequited crush on Abel.

We are deep in Rohmer and Truffaut territory—narrators voicing internal thoughts, chamber music on the soundtrack, a sense of timeless suspension in an everyday, non-touristic Paris—and Garrel (son of Philippe) and co-writer Jean-Claude Carrière (a Buñuel veteran) are indeed faithful to their antecedents, giving audiences a contemporary nouvelle vague experience and keeping the proceedings 100% français. (Even the Hollywood noir that Marianne and Abel go out to see is dubbed in French, which would not be the case in an actual Left Bank revival house.*)

 A FAITHFUL MAN is a piece of cinematic driftwood, smooth and lovely, kept afloat by its players’ charms. Selfishness and betrayal are expressed and accepted with hushed discretion. Complete happiness is not exactly on the menu, but fidelity to independence, choice, and the freedom to make mistakes is its own reward.

 A FAITHFUL MAN

Through August 8.

Laemmle Royal

11523 Santa Monica Boulevard, West Los Angeles.

Wednesday, August 21, at 7:30 pm.

South Bay Film Society

AMC Rolling Hills

2591 Airport Drive, Torrance.

*The Strange Love of Martha Ivers, starring Van Heflin and Barbara Stanwyck.

A Faithful Man/L’Homme fidele, from top: Louis Garrel and Laetitia Casta; Casta; Joseph Engel; Lily-Rose Depp; Garrel and Depp; U.S. poster; Garrel on set. Images courtesy and © the filmmakers, the actors, and Kino Lorber.

LA COLLECTIONNEUSE

This week in Hollywood, Kalyane Lévy’s La Collectionneuse will screen the film her program is named for.

Co-presented by Women & Film and the American Cinematheque, Éric Rohmer’s LA COLLECTIONNEUSE (1967) is one of his beloved contes moraux, and stars Haydée Politoff, Patrick Bauchau, and Daniel Pommereulle.

Stay for post-screening drinks and music, with a DJ set by DJ Izella.

LA COLLECTIONNEUSE

Friday, June 21, at 7:30 pm.

Egyptian Theatre

6712 Hollywood Boulevard, Los Angeles.

From top: Haydée Politoff and Patrick Bauchau in La Collectionneuse.

OLIVIER ASSAYAS’ NON-FICTION

How our habitual engagements with writing, reading, performance, publishing, and politics have been transformed in the internet age are some of the concerns addressed in NON-FICTION (Double vies), the new film from writer-director Olivier Assayas.

The film—Assayas’ seventeenth feature, and one that carries a strong echo of Rohmer—stars Juliette Binoche, Guillaume CanetChrista ThéretVincent MacaigneNora Hamzawi, and Pascal Greggory as denizens of the Parisian culture-media complex, and its Los Angeles premiere this week is part of the annual AFI Fest.

NON-FICTION

Friday, November 9, at 6 pm.

Thursday, November 15, at 12:30 pm.

Chinese Sixplex, 6925 Hollywood Boulevard, Los Angeles.

See Will Self on the tyranny of the virtual.

Top: Guillaume Canet in Non-Fiction.

Above: Vincent Macaigne (right) and Canet.

Below: Juliette Binoche and Canet.

ALMENDROS AND ROHMER

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.

cinefamily.org/films/la-collectionneuse/#moral-tales-claires-knee

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

lamour-lapres-midi

TRINTIGNANT, FABIAN, AND ROHMER

MA NUIT CHEZ MAUD—screening at Cinefamily early Saturday evening—is the third of Rohmer’s Moral Tales, but was shot fourth, while the director waited for Jean-Louis Trintignant’s schedule to clear.

MA NUIT CHEZ MAUD is about love, being a Roman Catholic, body language and the games people play. It is just about the best movie I’ve seen on all four subjects. It is also a refreshingly intelligent movie: not that it’s ideological or academic (far from it) but that it is thoughtful, and reveals a deep knowledge of human nature.” — Roger Ebert, 1970

This presentation of Rohmer’s Moral Tales is part of Cinefamily’s La Collectionneuse series, programmed by Kalyane Lévy.

MA NUIT CHEZ MAUD, Saturday, July 15, at 5 pm.

CINEFAMILY, 611 North Fairfax Avenue, Los Angeles.

At 3:30 pm, Jim Smith from The Smell is playing a DJ set at a pre-MAUD reception at CINEFAMILY. Ticket-holders can r.s.v.p. here:

docs.google.com/forms/d/1TlB9g-gsSP5mF1j9BQyd9jiVzUMBTWZiLAYsX6IWTcs/viewform?edit_requested=true

Françoise Fabian and Jean-Louis Trintignant in Ma nuit chez Maud (1969).

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