Éric Rohmer

A mother plausibly would, which is to kind of beat on him because he's the bearer of this news and she can't take it.

And it is, you know, with all apologies to Eric Romer, who I revere and once wrote an essay called In Defense of Talking Cinema.

You know, we need we need a buzzer or a bell for this when I'm about to say things like this is cinema.

This is visual storytelling.

And so when there's a filmmaker who's really willing to overtly structure the film, even at the risk of kind of deforming the drama, it's usually a high pleasure that I get.

So in Radu's film, there are these, um, date time cards that, like an Eric Rohmer film, break it up into individual days.

Uh, but I think they're just aerial font on black screen.

And sometimes he really gets a lot of humor out of the moment that he chooses to cut.

Beautiful, beautiful house.

And this courtyard is like a scene from a Rohmer film or something.

I mean, it is, it is just-

Wow

Yeah.

Harry's wife invites him to go see an Eric Romer film.

Charles and I are

going to see a Romer film my night at Maud's.

So Nisha likes a bit of a pun.

He likes to use literary names um in his therefore his um their sort of characters so we have so in this one we have we have um belloc we have an alan poe um a spleen um aroma which i'm taken from Eric Rohmer, the French filmmaker.

We find out that the savage's surname is Verne and his wife is Julie.

So she's Julie Verne, which is nice.

un rendez-vous.

This is La Carrière de Suzanne, Suzanne's Career, directed by Eric Rohmer, produced by a young Barbé Schroeder, and shot in grainy black and white, on location, in sidewalk cafes, student apartments, and dance clubs.

In 1958, a journalist named François Giraud had coined a term to describe the post-war generation in France.

Now it got applied to this new kind of filmmaking.