Éric Rohmer | |
|---|---|
 Rohmer at the Cinémathèque Française in 2004 | |
| Born | Maurice Henri Joseph Schérer or Jean Marie Maurice Schérer (1920-03-21)21 March 1920 Tulle, France |
| Died | 11 January 2010(2010-01-11) (aged 89) Paris, France |
| Occupations | |
| Years active | 1945–2009 |
| Spouse | |
| Children | 2 |
Jean Marie Maurice Schérer orMaurice Henri Joseph Schérer, known asÉric Rohmer (French:[eʁikʁomɛʁ]; 21 March 1920[a] – 11 January 2010), was a French film director, film critic, journalist, novelist, screenwriter, and teacher. Rohmer was the last of thepost-World War IIFrench New Wave directors to become established. He edited the influential film journalCahiers du cinéma from 1957 to 1963, while most of his colleagues—among themJean-Luc Godard andFrançois Truffaut—were making the transition from critics to filmmakers and gaining international attention.
Rohmer gained international acclaim around 1969 when his filmMy Night at Maud's was nominated at theAcademy Awards.[1] He won theSan Sebastián International Film Festival withClaire's Knee in 1971 and theGolden Lion at theVenice Film Festival forThe Green Ray in 1986. In 2001, Rohmer received theVenice Film Festival'sCareer Golden Lion. After his death in 2010, his obituary inThe Daily Telegraph called him "the most durable filmmaker of the French New Wave", outlasting his peers and "still making movies the public wanted to see" late in his career.[2]
Rohmer was bornJean-Marie Maurice Schérer (orMaurice Henri Joseph Schérer)[3] inNancy (also listed asTulle),Meurthe-et-Moselledepartment,Lorraine, France, the son of Mathilde (née Bucher) and Lucien Schérer.[4] Rohmer was aCatholic.[2][5] He was secretive about his private life and often gave different dates of birth to reporters.[6] He fashioned his pseudonym from the names of two famous artists: actor and directorErich von Stroheim and writerSax Rohmer, author of theFu Manchu series.[7] Rohmer was educated in Paris and received an advanced degree in history, though he seemed equally interested and learned in literature, philosophy, and theology.[8]
Rohmer first worked as a teacher[9] inClermont-Ferrand.[8] In the mid-1940s he quit his teaching job and moved to Paris, where he worked as a freelance journalist.[7] In 1946 he published a novel,Elisabeth (AKALes Vacances) under the pen name Gilbert Cordier.[7][8] While living in Paris, Rohmer first began to attend screenings atHenri Langlois'sCinémathèque Française, where he first met and befriendedJean-Luc Godard,François Truffaut,Claude Chabrol,Jacques Rivette and other members of theFrench New Wave. Rohmer had never been very interested in film, preferring literature, but soon became an intense lover of films and about 1949 switched from journalism to film criticism. Rohmer wrote film reviews for such publications asRévue du Cinéma,Arts,Temps Modernes andLa Parisienne.[8]
In 1950, he co-founded the film magazineLa Gazette du Cinéma with Rivette and Godard, but it was short-lived. In 1951 Rohmer joined the staff ofAndré Bazin's newly founded film magazineCahiers du Cinéma, of which he became the editor in 1956.[9][10] There, Rohmer established himself as a critic with a distinctive voice; fellowCahiers contributor and French New Wave filmmakerLuc Moullet later remarked that, unlike the more aggressive and personal writings of younger critics like Truffaut and Godard, Rohmer favored a rhetorical style that made extensive use of questions and rarely used thefirst person singular.[11] Rohmer was known as more politically conservative than most of theCahiers staff, and his opinions were highly influential on the magazine's direction while he was editor. Rohmer first published articles under his real name but began using "Éric Rohmer" in 1955 so that his family would not find out that he was involved in the film world, as they would have disapproved.[8]
Rohmer's best-known article was "Le Celluloïd et le marbre" ("Celluloid and Marble", 1955), which examines the relationship between film and other arts. In the article, Rohmer writes that in an age of cultural self-consciousness, film is "the last refuge of poetry" and the only contemporary art form from which metaphor can still spring naturally and spontaneously.[8] In 1957, Rohmer and Claude Chabrol wroteHitchcock (Paris: Éditions Universitaires, 1957), the earliest book-length study ofAlfred Hitchcock. It focuses on Hitchcock's Catholic background and has been called "one of the most influential film books since the Second World War, casting new light on a filmmaker hitherto considered a mere entertainer".[2]Hitchcock helped establish theauteur theory as a critical method and contributed to the reevaluation of the American cinema that was central to that method. By 1963, Rohmer was becoming more at odds with some of the more radical left-wing critics atCahiers du Cinéma. He continued to admire U.S. films while many of the other left-wing critics had rejected them and were championingcinéma vérité andMarxist film criticism. Rohmer resigned that year and was succeeded by Rivette.[8]
In 1950 Rohmer made his first 16mm short film,Journal d'un scélérat. The film starred writerPaul Gégauff and was made with a borrowed camera. By 1951 Rohmer had a bigger budget provided by friends and shot the short filmPrésentation ou Charlotte et son steak. The 12-minute film was co-written by and starred Jean-Luc Godard.[8] The film was not completed until 1961. In 1952 Rohmer began collaborating with Pierre Guilbaud on a one-hour short feature,Les Petites Filles modèles, but the film was never finished. In 1954 Rohmer made and acted inBérénice, a 15-minute short based on a story byEdgar Allan Poe. In 1956 Rohmer directed, wrote, edited and starred inLa Sonate à Kreutzer, a 50-minute film produced by Godard. In 1958 Rohmer madeVéronique et son cancre, a 20-minute short produced by Chabrol.
Chabrol's company AJYM produced Rohmer's featuredirectorial debut,The Sign of Leo (Le Signe du lion) in 1959. In the film an American composer spends the month of August waiting for his inheritance while all his friends are on vacation and gradually becomes impoverished. It included music byLouis Saguer.[8]The Sign of Leo was later recut and rescored by distributors when Chabrol was forced to sell his production company, and Rohmer disowned the recut version.[12] In 1962 Rohmer andBarbet Schroeder co-founded the production company Les Films du Losange (they were later joined by Pierre Coltrell in the late 1960s).[12] Les Films du Losange produced all of Rohmer's work (except his last three features produced by La Compagnie Eric Rohmer).[13]
Rohmer's career began to gain momentum with hisSix Moral Tales (Sixcontes moraux). Each of the films in the cycle follows the same story, inspired byF. W. Murnau'sSunrise: A Song of Two Humans (1927): a man, married or otherwise committed to a woman, is tempted by a second woman but eventually returns to the first.[14]
For Rohmer, these stories' characters "like to bring their motives, the reasons for their actions, into the open, they try to analyze, they are not people who act without thinking about what they are doing. What matters is what theythink about their behavior, rather than their behavior itself."[15] The French word "moraliste" does not translate directly to the English "moralist" and has more to do with what someone thinks and feels. Rohmer cited the works ofBlaise Pascal,Jean de La Bruyère,François de La Rochefoucauld andStendhal as inspirations for the series.[16]: 292 He clarified, "amoraliste is someone who is interested in the description of what goes on inside man. He's concerned with states of mind and feelings."[15] Regarding the repetition of a single storyline, he explained that it would allow him to explore six variations of the same theme. Plus, he stated, "I was determined to be inflexible and intractable, because if you persist in an idea it seems to me that in the end you do secure a following."[16]: 295
The firstMoral Tale wasThe Bakery Girl of Monceau (1963). This 26-minute film portrays a young man, a college student, who sees a young woman in the street and spends days obsessively searching for her. He meets a second woman who works in a bakery and begins to flirt with her, but abandons her when he finally finds the first woman. Schroder starred as the young man andBertrand Tavernier was the narrator.[8] The secondMoral Tale wasSuzanne's Career (1963). This 60-minute film portrays a young student who is rejected by one woman and begins a romantic relationship with a second. The first and secondMoral Tales were never theatrically released and Rohmer was disappointed by their poor technical quality. They were not well known until after the release of the other four.[8]
In 1963 Les Films du Losange produced the New Wave omnibus filmSix in Paris, of which Rohmer's short "Place de l'Etoile" was the centerpiece.[16]: 290 After being driven out of his editor position atCahiers, Rohmer began making short documentaries for French television. Between 1964 and 1966 Rohmer made 14 shorts for television through theOffice de Radiodiffusion Télévision Française (ORTF) and Télévision Scolaire.[12] These included episodes ofFilmmakers of Our Time onLouis Lumiere andCarl Theodor Dreyer, educational films on Blaise Pascal andStéphane Mallarmé, and documentaries on thePercival legend, theIndustrial Revolution and female students in Paris. Rohmer later said that television taught him how to make "readable images". He later said, "When you show a film on TV, the framing goes to pieces, straight lines are warped...the way people stand and walk and move, the whole physical dimension...all this is lost. Personally I don't feel that TV is an intimate medium."[8] In 1964 Rohmer made the 13-minute short filmNadja à Paris with cinematographerNestor Almendros.[8]
Rohmer and Schroder then sold the rights of two of their short films to French television in order to raise $60,000 to produce the feature filmLa Collectionneuse in 1967, the thirdMoral Tale.[17] The film's budget went only to film stock and renting a house inSt. Tropez as a set. Rohmer described it as a film aboutl'amour par désoeuvrement ("love from idleness").La Collectionneuse won theJury Grand Prix at the17th Berlin International Film Festival and was praised by French film critics, though US film critics called it "boring".[8]
The fourthMoral Tale wasMy Night at Maud's in 1969. The film was made with funds raised by Truffaut, who liked the script, and was initially intended to be the thirdMoral Tale. But because the film takes place on Christmas Eve, Rohmer wanted to shoot the film in December. ActorJean-Louis Trintignant was not available so filming was delayed for a year.[18] The film centers onPascal's Wager and stars Trintignant,Françoise Fabian,Marie-Christine Barrault andAntoine Vitez.My Night at Maud's was Rohmer's first successful film both commercially and critically. It was screened and highly praised at the1969 Cannes Film Festival and later won the Prix Max Ophüls. It was released in the US and praised by critics there as well. It eventually received Oscar nominations forBest Original Screenplay andBest Foreign Film.[7][9][19] James Monaco wrote, "Here, for the first time the focus is clearly set on the ethical and existential question of choice. If it isn't clear withinMaud who actually is making the wager and whether or not they win or lose, that only enlarges the idea ofle pari ("the bet") into the encompassing metaphor that Rohmer wants for the entire series."[8]
The fifthMoral Tale wasLe genou de Claire (Claire's Knee, 1970). It won the Grand Prix at theSan Sebastián International Film Festival,[9] thePrix Louis Delluc and thePrix Méliès, and was a huge international success.Vincent Canby called it "something close to a perfect film."[8] It was Rohmer's second film in color. Rohmer said, "the presence of the lake and the mountains is stronger in color than in black and white. It is a film I couldn't imagine in black and white. The color green seems to me essential in that film...This film would have no value to me in black and white."[8]
The sixth and finalMoral Tale was 1972'sLove in the Afternoon (released asChloe in the Afternoon in the US).Molly Haskell criticized the film for betraying the rest of the series by making a moral judgment of the main character and approving of his decision in the film.[8]
Overall, Rohmer said he wanted theSix Moral Tales "to portray in film what seemed most alien to the medium, to express feelings buried deep in our consciousness. That's why they have to be narrated in the first person singular...The protagonist discusses himself and judges his actions. I film the process."[8]
Following theMoral Tales Rohmer wanted to make a less personal film and adapted a novella byHeinrich von Kleist,La Marquise d'O... in 1976. It was one of Rohmer's most critically acclaimed films, with many critics ranking it withMy Night at Maud's andClaire's Knee. Rohmer stated that "It wasn't simply the action I was drawn to, but the text itself. I didn't want to translate it into images, or make a filmed equivalent. I wanted to use the text as if Kleist himself had put it directly on the screen, as if he were making a movie ... Kleist didn't copy me and I didn't copy him, but obviously there was an affinity."[8]
In 1978 Rohmer made theHoly Grail legend filmPerceval le Gallois, based on a 12th-century manuscript byChrétien de Troyes. The film received mostly poor critical reviews.Tom Milne said that the film was "almost universally greeted as a disappointment, at best a whimsical exercise in the faux-naif in its attempt to capture the poetic simplicity of medieval faith, at worse an anticlimatic blunder" and that it was "rather like watching the animation of a medieval manuscript, with the text gravely read aloud while the images — cramped and crowded, coloured with jewelled brilliance, delighting the eye with bizarre perspectives — magnificently play the role traditionally assigned to marginal illuminations."[8] In 1980 Rohmer made a film for television of his stage production of Kleist's playCatherine de Heilbronn, another work with a medieval setting.[20]
Later in 1980 Rohmer embarked on a second series of films: the "Comedies and Proverbs" (Comédies et Proverbes), where each film was based on aproverb. The first "Comedy and proverb" wasThe Aviator's Wife, which was based on an idea that Rohmer had had since the mid-1940s. This was followed in 1981 withLe Beau Mariage (A Perfect Marriage), the second "Comedy and Proverb". Rohmer stated that "what interests me is to show how someone's imagination works. The fact that obsession can replace reality."[8] In his review of the film, film criticClaude Baignères said that "Eric Rohmer is a virtuoso of the pen sketch...[He had not been] at ease with the paint tubes that Persival required, [but in this film he created] a tiny figurine whose every feature, every curl, every tone is aimed at revealing to us a state of soul and of heart."[8]Raphael Bassan said that "the filmmaker fails to achieve in these dialogues the flexibility, the textual freedom ofThe Aviator's Wife.A Perfect Marriage is only a variation on the spiritual states of thepetty bourgeoise who go on and on forever about the legitimacy of certain institutions or beliefs confronted by problems of the emotions. Quite simply, this is a minor variation on this central Rohmerian theme."[8]
The third "Comedy and proverb" wasPauline at the Beach in 1983. It won theSilver Bear for Best Director at the33rd Berlin International Film Festival. It was based on an idea that Rohmer had in the 1950s, originally intended forBrigitte Bardot. Rohmer often made films that he had been working on for many years and stated "I can't say 'I make one film, then after that film I look for a subject and write on that subject...then I shoot.' Not at all...these are films that are drawn from one evolving mass, films that have been in my head for a long time and that I think about simultaneously."[8]
The fourth "Comedy and Proverb" wasFull Moon in Paris in 1984. The film's proverb was invented by Rohmer himself: "The one who has two wives loses his soul, the one who has two houses loses his mind." The film's cinematographer Renato Berta called it "one of the most luxurious films ever made" because of the high amount of preparation put into it. The film began with Rohmer and the actors discussing their roles and reading from the film's scenario while tape recording the rehearsals. Rohmer then re-wrote the script based on these sessions and shot the film onSuper 8mm as a dress rehearsal. When the film was finally shot, Rohmer often used between two and three takes for each shot, and sometimes only one take.Alain Bergala andAlain Philippon have stated that "all the art of Eric Rohmer consists of creating on the set a veritable osmosis among himself, the actors and the technicians."[8] Rohmer even encouraged actressPascale Ogier to design sets for the film since her character is an interior decorator. Ogier later won the Best Actress award at theVenice Film Festival. Alain Philippon called the film "one of the most accomplished films that Rohmer has given us...and that if the film moves it is because of its own risk-taking."[8]
The fifth "Comedy and Proverb" wasThe Green Ray in 1986. Rohmer explained that "I was struck by the naturalness of television interviews. You can say that here, nature is perfect. If you look for it, you find it because people forget the cameras."[8] As was becoming his custom in pre-production, Rohmer gathered his cast together to discuss the project and their characters, but then allowed each actor to invent their own dialogue. Rohmer stated that lead actressMarie Rivière "is the one who called the shots, not only by what she said, but by the way she'd speak, the way she'd question people, and also by the questions her character evoked from the others."[8] The film was shot chronologically and in 16mm so as to be "as inconspicuous as possible, to have Delphine blend into the crowd as a way, ultimately, of accentuating her isolation."[8] Rohmer also instructed his cinematographer Sophie Maintigneux to keep technical aspects of the shoot to a minimum so as to not interrupt or distract the actors. The film's only major expense was a trip to theCanary Islands in order to film thegreen rays there. Rohmer chose to première the film onCanal Plus TV, a pay-TV station that paid $130,000 for the film, which was only one fifth of its budget. Rohmer stated that "Cinema here will survive only because of television. Without such an alliance we won't be able to afford French films."[8] The experiment paid off when the film was a theatrical hit after being released three days after its initial broadcast. It won theGolden Lion and theFIPRESCI Prize at the 1986Venice Film Festival. It was mostly praised by film critics, althoughAlain Robbe-Grillet wrote an unfavorable review and stated "I didn't like it very much."[8]
The Sixth "Comedy and Proverb" wasBoyfriends and Girlfriends (L'Ami de mon amie) in 1987.
He followed these with a third series in the 1990s:Tales of the Four Seasons (Contes des quatre saisons).Conte d'automne orAutumn Tale was a critically acclaimed release in 1999 when Rohmer was 79.[9] The previous titles of the series wereA Tale of Springtime (1990),A Tale of Winter (1992), andA Summer's Tale (1996).
Beginning in the 2000s, Rohmer, in his eighties, returned to period drama withThe Lady and the Duke andTriple Agent.The Lady and the Duke caused considerable controversy in France, where its negative portrayal of theFrench Revolution led some critics to label itmonarchist propaganda. Its innovative cinematic style and strong acting performances led it to be well received elsewhere.
In 2001, his life's work was recognised when he received theGolden Lion at theVenice Film Festival.[21][22]
In 2007, Rohmer's final film,The Romance of Astrea and Celadon, was shown during the Venice Film Festival,[21] at which he spoke of retiring.[9][21]
Rohmer's films concentrate on intelligent, articulate protagonists who frequently fail to own up to their desires. The contrast between what they say and what they do fuels much of the drama in his films. Gerard Legrand once said that "he is one of the rare filmmakers who is constantly inviting you to be intelligent, indeed, more intelligent than his (likable) characters."[8] Rohmer considered filmmaking to be "closer to the novel—to a certain classical style of novel which the cinema is now taking over—than the other forms of entertainment, like the theater."[8]
Many of Rohmer's films have a circular structure, with the main part consisting of a digression that will "seem to promise escape from a trap which the protagonist feels closing around him or her, but will come to be seen rather as itself a trap from which the protagonist must escape".[23] This is most easily observable in films such asPauline at the Beach andA Summer's Tale, which begin with their protagonists arriving and end with their protagonists leaving in the same manner in which they arrived.[24]
Rohmer saw the full-face closeup as a device that does not reflect how we see each other and avoided its use. He avoids extradiegetic music (not coming from onscreen sound sources), seeing it as a violation of thefourth wall. He has on occasion departed from the rule by inserting soundtrack music in places inThe Green Ray (1986) (released asSummer in the United States). Rohmer also tends to spend considerable time in his films showing his characters going from place to place, walking, driving, bicycling or commuting on a train, engaging the viewer in the idea that part of the day of each individual involves quotidian travel. This was most evident inLe Beau Mariage (1982), which had the female protagonist constantly traveling, particularly between Paris and Le Mans.
Rohmer typically populates his films with people in their twenties and the settings are often on pleasant beaches and popular resorts, notably inLa Collectionneuse (1967),Pauline at the Beach (1983),The Green Ray (1986) andA Summer's Tale (1996). These films are immersed in an environment of bright sunlight, blue skies, green grass, sandy beaches, and clear water. He explained that "people sometimes ask me why most of the main characters in my films are young. I don't feel at ease with older people ... I can't get people older than forty to talk convincingly."[8]
Half a dozen of Rohmer's films are set in the summertime, which he depicts as a time of beauty and leisure but also of "stagnation and aimlessness".[24]: 777 He does this through cinematography and sound design, but primarily through presenting "reflective characters with too much time on their hands and too many thoughts in their heads".[24]: 777 Rohmer said he wanted to look at "thoughts rather than actions", dealing "less with what people do than what is going on in their minds while they are doing it." Given Rohmer's professed interest in the anticipation rather than the climax in his tales, the summertime provides his characters with the time and space to show their self-consciousness and anxiety, rather than the solitude and relaxation they desire.[24]: 778
Rohmer preferred to use non-professional actors in his films. He usually held a large number of rehearsals before shooting and would shoot his films very quickly. He spent little time editing his films. He usually shot his films chronologically, and often shot scenes during the time of day in which they took place. He explained that "my films are based on meteorology. If I didn't call the weather service everyday, I couldn't make my films because they're shot according to the weather outside. My films are slaves to weather."[8]
Similarly, Rohmer's films all have a strong sense of place. Whether shot in Paris, Clermont-Ferrand, or elsewhere, his films clearly show where they are and how the characters are part of that place. Characters travel or walk past signposts or monuments, or converse about these places. The locations in which the characters exist are as important an element in his films as what his characters are saying and doing. For this reason, Rohmer has been called a "poet of place".[25]
The director's characters engage in long conversations—mostly talking about man–woman relationships but also on mundane issues like trying to find a vacation spot. There are also occasional digressions by the characters on literature and philosophy as most of Rohmer's characters are middle class and university educated.
A Summer's Tale (1996) has most of the elements of a typical Rohmer film: no soundtrack music, no close-ups, a seaside resort, long conversations between beautiful young people (who are middle class and educated) and discussions involving the characters' interests from songwriting to ethnology.
Beginning in the late 1970s during the production ofPerceval le Gallois Rohmer began to reduce the number of crew members on his films. He first dispensed with thescript supervisor, then (controversially) cut out theassistant director, then all other assistants and technical managers until, by the time he shotThe Green Ray in 1986, his crew consisted only of a camera operator and a sound engineer. Rohmer stated that "I even wonder if I could work in the usual conditions of filmmaking."[8]
His style was famously criticised byGene Hackman's character in the 1975 filmNight Moves who describes viewing Rohmer's films as "kind of like watching paint dry".[9]
Rohmer was a highly literary man. His films frequently refer to ideas and themes in plays and novels, such as references toJules Verne (inThe Green Ray),William Shakespeare (inA Winter's Tale) andPascal's wager (inMa nuit chez Maud).
Rohmer's brother was the philosopherRené Schérer. In 1957, Rohmer married Thérèse Barbet.[2] The couple had two sons.[2] The elder, René Monzat (b. 1958), is an author and investigative journalist at, most recently,Le Monde andMediapart.[26] His work focuses on the French far-right.[27][28]
Rohmer was a devout Catholic,monarchist,[29] and "ecological zealot".[8] For years he had no telephone and refused to get into cars, which he called "immoral pollutors".[8] For many years he was known to jog two miles to his office every morning. He was well known for his need for personal privacy and sometimes wore disguises, such as a false moustache at the New York premiere of one of his films. Rohmer's mother died without ever knowing that her son was a famous film director.
Rohmer died on the morning of 11 January 2010 at the age of 89[9][21][22] after a series of strokes.[30]: 1345 He had been admitted to hospital the previous week.[19]
The former Culture MinisterJack Lang called Rohmer "one of the masters of French cinema".[21] DirectorThierry Fremaux called his work "unique".[21]
Rohmer's grave is in district 13 ofMontparnasse Cemetery.
At the2010 César Awards, actorFabrice Luchini presented a special tribute to Rohmer:
I'm going to read a remarkable text written by Jacques Fieschi, writer, director, creator of "the cinematographe", challenger ofLes cahiers du cinéma, which recently published a special edition on Eric Rohmer. Truffaut once said he was one of the greatest directors of the 20th century, Godard was his brother, Chabrol admired him, Wenders couldn't stop taking photos of him. Rohmer is a tremendous international star. The one and only French director who was in coherence with the money spent on his films and the money that his films made. I remember a phrase by Daniel Toscan Du Plantier the dayLes Visiteurs opened, which eventually sold 15 million tickets: "Yes but there is this incredible film calledL'arbre, le maire et la médiathèque that sold 100,000 tickets, which may sound ridiculous in comparison, but no, because but it was only playing in one theater for an entire year." A happy time for cinema when this kind of thing could happen. Rohmer. Here is a tribute from Jacques Fieschi: "We are all connected with the cinema, at least for a short time. The cinema has its economical laws, its artistic laws, a craft that once in a while rewards us or forgets us. Éric Rohmer seems to have escaped from this reality by inventing his own laws, his own rules of the game. One could say his own economy of the cinema that served his own purpose, which could skip the others, or to be more accurate that couldn't skip the audience with its originality. He had a very unique point of view on the different levels of language and on desire that is at work in the heart of each and every human being, on youth, on seasons, on literature, of course, and one could say on history. Éric Rohmer, this sensual intellectual, with his silhouette of a teacher and a walker. As an outsider he made luminous and candid films in which he deliberately forgot his perfect knowledge of the cinema in a very direct link with the beauty of the world." The text was by Jacques Fieschi and it was a tribute to Éric Rohmer. Thank you.
On 8 February 2010, theCinémathèque Française held a special tribute to Rohmer that included a screening ofClaire's Knee and a short videotribute to Rohmer byJean-Luc Godard.[31]
Directed features
Eric Rohmer, who began writing forCahiers at age 31
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