Eric Rohmer's Films

A man becomes obsessed with his fiance's teeth.

In this adaptation of Tolstoy's argument for sexual abstinence, a man recounts the events that led to the killing of his wife.

A careless mother hires a young tutor to bring up her son's marks, as bad in mathematics as in French language. The young woman tries to teach the boy the easiest things in the curriculum, as well as some manners. She fails, faced with a puzzling logic in the boys' answers, and her tight new shoes. Alone at last, the boy picks up his rubber ball - to sleep on it.

Two young people, Walter and Charlotte, are walking through a small village in Switzerland a snowy winter day. Walter introduces Charlotte to Clara, hoping to make Charlotte jealous. After saying good-bye to Clara, Walter accompanies Charlotte into her house, although she doesn't want him to. Charlotte is hungry and cooks a steak. She asks Walter if he wants a piece of it. He says no, but she gives him a small piece anyway. He wants a kiss, and she says no. She starts to compare herself with Clara, who Walter agrees is more beautiful. In spite of this, Walter says he likes Charlotte much more, but she thinks he is lying. She notices that he is cold and shivering. She hugs him, he kisses her, and she starts kissing him. After leaving the house he accompanies her to the train.

A French-American in Paris lives by sponging off his working friends, and throws a party using borrowed money when his rich American aunt dies, believing firmly in his horoscope.

The friendship of Bertrand and Guillaume is complicated when the womanizing Guillaume begins to pursue a charming girl named Suzanne.

A law student regularly visits a Paris bakery to flirt with a brunette employee.

A documentary account of landscape change in and around Paris in the early 1960s.

Nadja is a guest student, who stays at Cité Universitaire and visits the Sorbonne, while preparing a thesis on Proust. Besides her student life she likes to stroll about Paris, to explore the variety of this wide and open city.

"Celluloid and Marble" is based on Éric Rohmer's own articles published in "Cahiers du cinéma" discussing film in relation to the other arts, maintaining that, in an age of cultural self-consciousness, cinema was "the last refuge of poetry" - the only contemporary art form from which metaphor could still spring naturally and spontaneously.

An educational documentary short subject on a writer whose work Rohmer had previously adapted.

Six vignettes set in different sections of Paris, by six directors. St. Germain des Pres (Douchet), Gare du Nord (Rouch), Rue St. Denis (Pollet), and Montparnasse et Levallois (Godard) are stories of love, flirtation and prostitution; Place d'Etoile (Rohmer) concerns a haberdasher and his umbrella; and La Muette (Chabrol), a bourgeois family and earplugs.

An examination of the lifestyles of female college students in 1966.

The life in the French countryside of Montfaucon as told by a farmer's wife all with its idyllic mundanities and responsibilities.

Ein weiblicher Kunsthändler und ein Maler finden die Heiterkeit ihres Riviera-Urlaubs durch einen dritten Gast gestört, eine lebhafte Bohemien-Frau, die für ihre lange Liste männlicher Eroberungen bekannt ist.

Apparently an interview between Mallarme and an unseen interviewer, whereas in actuality an actor played the role of Mallarme and the conversation was taken from a printed interview.

Eric Rohmer leads a conversation with Jean Renoir and Henri Langlois on the art of filmmaker Louis Lumière. The cinematographic pioneer Lumière produced thousands of documentaries in the end of the 19th century, but also some short comedies with amateur actors. The films are done in one shot and are only 1 minute in length. Lumiére and his operators chose a place, put up the camera and then recorded what happened in front of the lens. In spite of this both Renoir and Langlois argue that the films of Lumière are not simply reproductions of reality, but pieces of art. Renoir points out that Lumiére didn't just reproduce the externals of what he saw, but also its spirit and inner life. The films are not only showing a piece of contemporary reality, but Lumière's vision of that reality. Langlois remarks that the films of Lumière were not made at random, but out of a consciously chosen dramaturgy and composition. Lumiére and his team chose, after long deliberations, the motif of the film as well as the camera-angle. There is usually some kind of beginning and end of the film. The main action never occurs in the center of the screen, but either at the right or the left side of it. This means that the main movements happen along a diagonal across the screen, which produces a dynamic impression. The films are made in one shot, but the shots are usually very deep, which means that you get some close-ups in the foreground at the same time as you see something happen in full scale behind that and something else even more far away. The conversation with Renoir and Langlois is interspersed with some of Lumière's films, to underline the arguments.