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Release: November 14, 2023

$7.99

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The inaugural film of Eric Rohmer’s sparkling “Comedies and Proverbs” cycle, The Aviator’s Wife is a fleecy farce of romantic overanalysis that finds the director exploring the possibilities of handheld camerawork as he seeks a narrative expression of the opening epigraph: “It is impossible to think of nothing.” A young man sees his girlfriend’s ex leaving her apartment one early morning, and his imagination is off to the races, as stars Philippe Marlaud and Marie Rivière (The Green Ray) introduce a younger, less perfectly articulate type of Rohmer character than those of the “Moral Tales.” Special Features: • Audio commentary by film historian Adrian Martin • Trailer Top About this item Similar From the Brand Reviews The Aviator's Wife [Blu-ray]

Release: November 28, 2023

$7.99

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In Boyfriends and Girlfriends (aka My Girlfriend’s Boyfriend) Rohmer uses the amorous misadventures of two girlfriends in the Paris suburbs to test the old proverb “les amis de mes amis sont mes amis” (“the friends of my friends are my friends”) in the final episode of his “Comedies and Proverbs” series. Taking an identifiable stab at a yuppie(ish) set, Rohmer’s witty Shakespearean roundelay involves the buttoned-up Blanche (Emmanuelle Chaulet, in a superb debut) and the free-spirited Lea (Sophie Renoir), and their current amours. The pair are tempted by each other’s love interests, testing both their friendship and their understanding of matters of the heart. Special Features: • Audio commentary by film historian Adrian Martin • Trailer

Release: November 21, 2023

$7.99

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Shot quickly in and around Paris during a production break on Rohmer’s The Green Ray (Le Rayon Vert), Four Adventures of Reinette and Mirabelle is a breezy, witty film that traces the exploits of two young women—one an ethnology student from the city, the other an unsophisticated aspiring artist from the country. Reinette and Mirabelle (played by Joëlle Miquel and Jessica Forde) become instant friends upon meeting in the first of four vignettes that make up the film (“The Blue Hour”), and in their first two days together, they decide to become roommates in Paris. Throughout the three remaining stories, they encounter many of the inevitable characters of a modern city: the impossible waiter (“The Waiter”), the Metro-station hustler (“The Beggar, the Kleptomaniac and the Hustler”), and the snooty gallery owner (“Selling the Painting”). Special Features: • Audio Commentary by writer Kristen Yoonsoo Kim • Trailer

Release: October 20, 2015

$7.99

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Product Description One of Eric Rohmer's most renowned films, FULL MOON IN PARIS was originally released in 1984 to universal acclaim. Heralded as "a small masterpiece" and "the very best of Rohmer" by The New York Times, it is the story of Louise (Pascale Ogier), a young interior designer bored with her life in the sleepy suburbs with her live-in boyfriend Remi, an architect by trade and a homebody by nature. Eager to lead the life of an independent socialite in the city, Louise arranges to move back into her Paris apartment during the week. Balancing a steady boyfriend in the suburbs with a best friend, Octave (Fabrice Luchini), who makes plain his interest in her, and a bad boy musician who catches her eye at a party, eventually even the sophisticated and aloof Louise cannot untangle herself from the emotional realities of her various romantic encounters. Review Winner - Best Actress - Venice Film Festival Official Selection - Venice Film Festival Official Selection - Toronto International Film Festival --- Ranks with the very best of Rohmer. Enlightened self-deception is the system in this tiny universe, and it's invigoratingly comic to behold. --The New York Times It's as elegant and incisive a comedy of manners as ever from Rohmer. --Time Out London

Release: October 20, 2015

$7.99

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Product Description Already an established filmmaker by the 1976 release of THE MARQUISE OF O, an adaptation of Heinrich von Kleist's classic short story, the film stands as Eric Rohmer's 'dazzling testament to the civilizing effects of several different arts, witty, joyous and so beautiful to look at' (The New York Times). Winner of the Special Jury Prize at the Cannes Film Festival that year, Rohmer's film is set in 1799 during the Russian invasion of Italy. A young widow, The Marquise (Edith Clever) lives with her parents; her father is the commander of a citadel embroiled in battle. With the fort overrun by Russians, the Marquise is abducted by a group of rowdy soldiers and nearly taken advantage of when the Russian commander Count F (Bruno Ganz) appears as if from nowhere to rescue her. Later, the Marquise realizes she is pregnant, though she cannot decipher how the circumstance came to be. The Marquise's scandalized parents banish her to their country estate, where she pens a letter to the newspaper announcing that she will marry the father, whomever he may be, should he only present himself. Rohmer masterfully adapts von Kleist's multi-layered story, creating 'the aura of a neoclassical dream, a fading vision of the virtue of gentility' (The Chicago Reader). BONUS FEATURES include Collector's booklet with film essay by top film critic and writer, David Thompson, archival Cannes Film Festival interview with leading actor, Bruno Ganz, and interview with director, Eric Rohmer, on the set of a Kleist stage production. Review Winner - Special Jury Prize - Cannes Film Festival Official Selection - Cannes Film Festival Official Selection - New York International Film Festival - --- It's a dazzling testament to the civilizing effects of several different arts, witty, joyous and so beautiful to look at. --The New York Times The film's slow, stately pace and the quiet way in which it makes its points give it the aura of a neoclassical dream, a fading vision of the virtue of gentility. --Chicago Reader

Release: July 30, 2024

$7.99

Description

*This listing is for the standard edition version and does NOT come with a limited edition slipcase!* In 1965, young producer Barbet Schroeder supplied a 16mm camera, along with color film stock, to six friends and asked them to each make a short film about a Parisian neighborhood. The resulting films were shot quickly, with low budgets, improvised takes, and live sound. According to the Chicago Reader, “the Rouch, Chabrol, and Rohmer segments shouldn’t be missed,” and The New Yorker says Rouch’s film is “one of the greatest short films ever made.” Gorgeously restored in 2K, these six vignettes offer captivating and varied glimpses of the City of Lights: "Saint Germain des Prés" by Jean Douchet "Gare du Nord" by Jean Rouch "Rue Saint Denis" by Jean-Daniel Pollet "Place de l'Étoile" by Éric Rohmer "Montparnasse et Levallois" by Jean-Luc Godard "La Muette" by Claude Chabrol Bonus Features: 1. 1965 interviews with Barbet Schroeder, Jean Rouch and Éric Rohmer. Originally aired on Swiss TV.

Release: May 5, 2020

$7.99

Description

The multifaceted, deeply personal work of Eric Rohmer has had an effect on cinema unlike any other. One of the founding critics of the history-making Cahiers du cinéma, Rohmer began translating his written manifestos to film in the 1960s, standing apart from his New Wave contemporaries with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. This near genre unto itself was established with the audacious and wildly influential series Six Moral Tales. A succession of encounters between fragile men and the women who tempt them, Six Moral Tales unleashed on the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating. THREE-BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restorations, with uncompressed monaural soundtracks • Conversation between director Eric Rohmer and filmmaker Barbet Schroeder from 2006 • Four short films by Rohmer—Presentation, or Charlotte and Her Steak (shot in 1951 and completed in 1961); Véronique and Her Dunce (1958); Nadja in Paris (1964); A Modern Coed (1966)—and one on which he advised, The Curve (1999) • “On Pascal,” a 1965 episode of the educational TV series En profil dans le texte directed by Rohmer, on the French philosopher Blaise Pascal, the subject of debate in My Night at Maud’s • Archival interviews with Rohmer; actors Jean-Claude Brialy, Béatrice Romand, Laurence de Monaghan, and Jean--Louis Trintignant; film critic Jean Douchet; and producer Pierre Cottrell • Video afterword from 2006 by filmmaker and writer Neil LaBute • Trailers • PLUS: A booklet featuring essays by critics Geoff Andrew, Ginette Vincendeau, Phillip Lopate, Kent Jones, Molly Haskell, and Armond White; excerpts from cinematographer Nestor Almendros’s 1980 autobiography; and Rohmer’s landmark 1948 essay “For a Talking Cinema”; along with an English translation of Six Moral Tales, the book of stories by Rohmer on which the films are based THE BAKERY GIRL OF MONCEAU Delicate and jazzy, The Bakery Girl of Monceau, the first entry in the Six Moral Tales series, evinces stirrings of what would become the Eric Rohmer style: unfussy naturalistic shooting, ironic first-person voice-over, and an “unknowable” woman. A law student (played by producer and future director Barbet Schroeder) with a roving eye and a large appetite stuffs himself with sugary pastries daily in order to gain the affection of a pretty brunette who works in a quaint Paris bakery. But is he truly interested, or is she just a sweet diversion? SUZANNE’S CAREER Bertrand bides his time in a casually hostile and envious friendship with Guillaume. But when Guillaume seems to be making a play for the spirited, independent Suzanne, Bertrand watches dis-approvingly. With its ragged black-and-white 16 mm photography and strong sense of 1960s Paris, Suzanne’s Career, the second of Eric Rohmer’s Six Moral Tales, is a wonderfully evocative portrait of youthful naivete and the complicated bonds of friendship and romance. MY NIGHT AT MAUD’S In My Night at Maud’s, the brilliantly accomplished centerpiece of the Six Moral Tales series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of 1960s cinema. A Catholic engineer in his early thirties, he lives by a strict moral code and immerses himself in mathematics and the philosophy of Blaise Pascal. After spotting the delicate Françoise at Mass, he vows to make her his wife, although when he spends an unplanned night at the apartment of the bold divorcée Maud, his rigid standards are challenged. LA COLLECTIONNEUSE A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men. Eric Rohmer’s first color film, La collectionneuse pushes Six Moral Tales into new, darker realms while showcasing the clever, delectably ironic battle-of-the-sexes repartee (in a script written by Rohmer and the three main actors) and effortlessly luscious Nestor Almendros photography that would define the remainder of the series. CLAIRE’S KNEE “Why would I tie myself to one woman?” asks Jerôme in Claire’s Knee, though he plans to marry a diplomat’s daughter by summer’s end. He spends his July at a lakeside boardinghouse, nursing crushes on the sixteen-year-old Laura and, more tantalizingly, her long-legged, blonde, older half sister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly incites a moral crisis for Jerôme while creating an image that is both the iconic emblem of Eric Rohmer’s Six Moral Tales and one of French cinema’s most enduring moments. LOVE IN THE AFTERNOON Though happily married to the adoring Hélène and expecting a second child with her, the thoroughly bourgeois executive Frédéric cannot banish from his mind the attractive Paris women he sees every day. His flirtations and fantasies remain harmless until the appearance at his office of Chloé, an audacious, unencumbered old flame played by the mesmerizing Zouzou. Love in the Afternoon, the luminous final chapter in Eric Rohmer’s Six Moral Tales, is a tender, sobering, and wholly adult affair that leads to perhaps the most overwhelmingly emotional moment in the entire series. Top About this item Similar From the Brand Reviews Six Moral Tales (The Bakery Girl of Monceau / Suzanne’s Career / My Night at Maud’s / La collectionneuse / Claire’s Knee / Love in the Afternoon) (The Criterion Collection) [Blu-ray]

Release: May 5, 2020

$7.99

Description

The multifaceted, deeply personal work of Eric Rohmer has had an effect on cinema unlike any other. One of the founding critics of the history-making Cahiers du cinéma, Rohmer began translating his written manifestos to film in the 1960s, standing apart from his New Wave contemporaries with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. This near genre unto itself was established with the audacious and wildly influential series Six Moral Tales. A succession of encounters between fragile men and the women who tempt them, Six Moral Tales unleashed on the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating. THREE-BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restorations, with uncompressed monaural soundtracks • Conversation between director Eric Rohmer and filmmaker Barbet Schroeder from 2006 • Four short films by Rohmer—Presentation, or Charlotte and Her Steak (shot in 1951 and completed in 1961); Véronique and Her Dunce (1958); Nadja in Paris (1964); A Modern Coed (1966)—and one on which he advised, The Curve (1999) • “On Pascal,” a 1965 episode of the educational TV series En profil dans le texte directed by Rohmer, on the French philosopher Blaise Pascal, the subject of debate in My Night at Maud’s • Archival interviews with Rohmer; actors Jean-Claude Brialy, Béatrice Romand, Laurence de Monaghan, and Jean--Louis Trintignant; film critic Jean Douchet; and producer Pierre Cottrell • Video afterword from 2006 by filmmaker and writer Neil LaBute • Trailers • PLUS: A booklet featuring essays by critics Geoff Andrew, Ginette Vincendeau, Phillip Lopate, Kent Jones, Molly Haskell, and Armond White; excerpts from cinematographer Nestor Almendros’s 1980 autobiography; and Rohmer’s landmark 1948 essay “For a Talking Cinema”; along with an English translation of Six Moral Tales, the book of stories by Rohmer on which the films are based THE BAKERY GIRL OF MONCEAU Delicate and jazzy, The Bakery Girl of Monceau, the first entry in the Six Moral Tales series, evinces stirrings of what would become the Eric Rohmer style: unfussy naturalistic shooting, ironic first-person voice-over, and an “unknowable” woman. A law student (played by producer and future director Barbet Schroeder) with a roving eye and a large appetite stuffs himself with sugary pastries daily in order to gain the affection of a pretty brunette who works in a quaint Paris bakery. But is he truly interested, or is she just a sweet diversion? SUZANNE’S CAREER Bertrand bides his time in a casually hostile and envious friendship with Guillaume. But when Guillaume seems to be making a play for the spirited, independent Suzanne, Bertrand watches dis-approvingly. With its ragged black-and-white 16 mm photography and strong sense of 1960s Paris, Suzanne’s Career, the second of Eric Rohmer’s Six Moral Tales, is a wonderfully evocative portrait of youthful naivete and the complicated bonds of friendship and romance. MY NIGHT AT MAUD’S In My Night at Maud’s, the brilliantly accomplished centerpiece of the Six Moral Tales series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of 1960s cinema. A Catholic engineer in his early thirties, he lives by a strict moral code and immerses himself in mathematics and the philosophy of Blaise Pascal. After spotting the delicate Françoise at Mass, he vows to make her his wife, although when he spends an unplanned night at the apartment of the bold divorcée Maud, his rigid standards are challenged. LA COLLECTIONNEUSE A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men. Eric Rohmer’s first color film, La collectionneuse pushes Six Moral Tales into new, darker realms while showcasing the clever, delectably ironic battle-of-the-sexes repartee (in a script written by Rohmer and the three main actors) and effortlessly luscious Nestor Almendros photography that would define the remainder of the series. CLAIRE’S KNEE “Why would I tie myself to one woman?” asks Jerôme in Claire’s Knee, though he plans to marry a diplomat’s daughter by summer’s end. He spends his July at a lakeside boardinghouse, nursing crushes on the sixteen-year-old Laura and, more tantalizingly, her long-legged, blonde, older half sister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly incites a moral crisis for Jerôme while creating an image that is both the iconic emblem of Eric Rohmer’s Six Moral Tales and one of French cinema’s most enduring moments. LOVE IN THE AFTERNOON Though happily married to the adoring Hélène and expecting a second child with her, the thoroughly bourgeois executive Frédéric cannot banish from his mind the attractive Paris women he sees every day. His flirtations and fantasies remain harmless until the appearance at his office of Chloé, an audacious, unencumbered old flame played by the mesmerizing Zouzou. Love in the Afternoon, the luminous final chapter in Eric Rohmer’s Six Moral Tales, is a tender, sobering, and wholly adult affair that leads to perhaps the most overwhelmingly emotional moment in the entire series. Top About this item Similar From the Brand Reviews Six Moral Tales (The Bakery Girl of Monceau / Suzanne’s Career / My Night at Maud’s / La collectionneuse / Claire’s Knee / Love in the Afternoon) (The Criterion Collection) [Blu-ray]

Release: May 5, 2020

$7.99

Description

The multifaceted, deeply personal work of Eric Rohmer has had an effect on cinema unlike any other. One of the founding critics of the history-making Cahiers du cinéma, Rohmer began translating his written manifestos to film in the 1960s, standing apart from his New Wave contemporaries with his patented brand of gently existential, hyperarticulate character studies set against vivid seasonal landscapes. This near genre unto itself was established with the audacious and wildly influential series Six Moral Tales. A succession of encounters between fragile men and the women who tempt them, Six Moral Tales unleashed on the film world a new voice, one that was at once sexy, philosophical, modern, daring, nonjudgmental, and liberating. THREE-BLU-RAY SPECIAL EDITION FEATURES • New 2K digital restorations, with uncompressed monaural soundtracks • Conversation between director Eric Rohmer and filmmaker Barbet Schroeder from 2006 • Four short films by Rohmer—Presentation, or Charlotte and Her Steak (shot in 1951 and completed in 1961); Véronique and Her Dunce (1958); Nadja in Paris (1964); A Modern Coed (1966)—and one on which he advised, The Curve (1999) • “On Pascal,” a 1965 episode of the educational TV series En profil dans le texte directed by Rohmer, on the French philosopher Blaise Pascal, the subject of debate in My Night at Maud’s • Archival interviews with Rohmer; actors Jean-Claude Brialy, Béatrice Romand, Laurence de Monaghan, and Jean--Louis Trintignant; film critic Jean Douchet; and producer Pierre Cottrell • Video afterword from 2006 by filmmaker and writer Neil LaBute • Trailers • PLUS: A booklet featuring essays by critics Geoff Andrew, Ginette Vincendeau, Phillip Lopate, Kent Jones, Molly Haskell, and Armond White; excerpts from cinematographer Nestor Almendros’s 1980 autobiography; and Rohmer’s landmark 1948 essay “For a Talking Cinema”; along with an English translation of Six Moral Tales, the book of stories by Rohmer on which the films are based THE BAKERY GIRL OF MONCEAU Delicate and jazzy, The Bakery Girl of Monceau, the first entry in the Six Moral Tales series, evinces stirrings of what would become the Eric Rohmer style: unfussy naturalistic shooting, ironic first-person voice-over, and an “unknowable” woman. A law student (played by producer and future director Barbet Schroeder) with a roving eye and a large appetite stuffs himself with sugary pastries daily in order to gain the affection of a pretty brunette who works in a quaint Paris bakery. But is he truly interested, or is she just a sweet diversion? SUZANNE’S CAREER Bertrand bides his time in a casually hostile and envious friendship with Guillaume. But when Guillaume seems to be making a play for the spirited, independent Suzanne, Bertrand watches dis-approvingly. With its ragged black-and-white 16 mm photography and strong sense of 1960s Paris, Suzanne’s Career, the second of Eric Rohmer’s Six Moral Tales, is a wonderfully evocative portrait of youthful naivete and the complicated bonds of friendship and romance. MY NIGHT AT MAUD’S In My Night at Maud’s, the brilliantly accomplished centerpiece of the Six Moral Tales series, Jean-Louis Trintignant plays Jean-Louis, one of the great conflicted figures of 1960s cinema. A Catholic engineer in his early thirties, he lives by a strict moral code and immerses himself in mathematics and the philosophy of Blaise Pascal. After spotting the delicate Françoise at Mass, he vows to make her his wife, although when he spends an unplanned night at the apartment of the bold divorcée Maud, his rigid standards are challenged. LA COLLECTIONNEUSE A bombastic, womanizing art dealer and his painter friend go to a seventeenth-century villa on the Riviera for a relaxing summer getaway. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a “collector” of men. Eric Rohmer’s first color film, La collectionneuse pushes Six Moral Tales into new, darker realms while showcasing the clever, delectably ironic battle-of-the-sexes repartee (in a script written by Rohmer and the three main actors) and effortlessly luscious Nestor Almendros photography that would define the remainder of the series. CLAIRE’S KNEE “Why would I tie myself to one woman?” asks Jerôme in Claire’s Knee, though he plans to marry a diplomat’s daughter by summer’s end. He spends his July at a lakeside boardinghouse, nursing crushes on the sixteen-year-old Laura and, more tantalizingly, her long-legged, blonde, older half sister, Claire. Baring her knee on a ladder under a blooming cherry tree, Claire unwittingly incites a moral crisis for Jerôme while creating an image that is both the iconic emblem of Eric Rohmer’s Six Moral Tales and one of French cinema’s most enduring moments. LOVE IN THE AFTERNOON Though happily married to the adoring Hélène and expecting a second child with her, the thoroughly bourgeois executive Frédéric cannot banish from his mind the attractive Paris women he sees every day. His flirtations and fantasies remain harmless until the appearance at his office of Chloé, an audacious, unencumbered old flame played by the mesmerizing Zouzou. Love in the Afternoon, the luminous final chapter in Eric Rohmer’s Six Moral Tales, is a tender, sobering, and wholly adult affair that leads to perhaps the most overwhelmingly emotional moment in the entire series. Top About this item Similar From the Brand Reviews Six Moral Tales (The Bakery Girl of Monceau / Suzanne’s Career / My Night at Maud’s / La collectionneuse / Claire’s Knee / Love in the Afternoon) (The Criterion Collection) [Blu-ray]