58. Eric Rohmer
MY NIGHT AT MAUD’S, AUTUMN TALE, CLAIRE’S KNEE, FULL MOON IN PARIS
Rohmer was often tagged with accusations that his films weren’t “cinematic” enough, but he simply wasn’t going for the same kind of cinema as his contemporaries. He used the cinema to show people – to show how they spoke, how they reacted to someone else, how they processed a revelation or handled their own sudden outburst. It’s a simple approach, from which he draws something like Love in the Afternoon, an ending that contains multitudes, and the perfect evocation that figuring out your own problems is only the smallest step of understanding your life. He was the master of giving his characters the keys to their happiness, only to tell them they waited too long and the locks have been changed.
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