The best Éric Rohmer’s drama movies
If you love cinema, you will share this ranking of the best Éric Rohmer’s movies, although you may have ordered them differently. In any case, we hope you love it and with a little luck discovering a movie that you still don’t know about Éric Rohmer.
The Marquise of O
7/10
A German Marquise has to deal with a pregnancy she cannot explain and an infatuated Russian Count.
Six in Paris
6.7/10
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.
Out 1: Spectre
7.2/10
Out 1: Spectre begins as nothing more than scenes from Parisian life; only as time goes by do we realize that there is a plot—perhaps playful, perhaps sinister—that implicates not just the thirteen characters, but maybe everyone, everywhere. Real life may be nothing but an enormous yarn someone somewhere is spinning...
Chassé-croisé
4.4/10
Passionate about music, Julien nevertheless works with a sculptor. One day, he meets young Hermine at a religious bookseller.
Out 1
7.5/10
While two theater groups rehearse plays by Aeschylus, two solitary individuals wander the Parisian streets hustling the populace for cash.
Bérénice
5.8/10
Shot in 16mm, Berenice is Rohmer’s first finished film. The film is based on a story by Edgar Allen Poe about a man who becomes obsessed with his fiancé’s teeth. The film was shot at Andre Bazin’s house by Jacques Rivette. Rivette also edited the film.
The Kreutzer Sonata
6.1/10
La Sonata à Kreutzer is a 16mm film based on a Tolstoy story and was written and directed by Eric Rohmer and produced by Jean-Luc Godard. The film follows a man (Rohmer) whose wife starts to fall for a another man (Jean-Claude Brialy). The film is a great look into the Nouvelle Vague in 1956, with Godard in a supporting role and a scene shot in the offices of Cahiers du cinema, with cameos by Claude Chabrol, Francois Truffaut, and Andre Bazin. It was in reference to this film when Truffaut called Rohmer the master of 16mm.
