Summer

Marie Riviere's Delphine is an exasperating bundle of awkward lonely nerves and totally makes the film. Her character can get a little annoying but the performance is so perfect that the realism of her character shines through and hits you like a ton of bricks. Rohmer's trademark dialogue is wonderful throughout and the way he captures the intricacies of human interaction is as amazing as ever. I do wish he'd drop the astrology crap, though.

Of all the great Rohmer films, this one is my favourite.

Taking one of the most intriguing of characters who is both deeply sympathetic yet rather frustrating, presenting her personality via some of the most beautiful dialogue I've ever heard in great and memorable scene after great and memorable scene, with a wonderfully gentle directorial touch from Rohmer and drawing on chance and mysticism to add a certain something more - surely one of the most tender, exquisite and delightful films I have ever seen. Quite simply I adore everything about it.

The film uses contemporary mysticism and literary interpretation to define a period of one individual's life. It's about the process of searching for one's sense of belonging and a meaningful relationship. Delphine is both afraid of intimacy and also unable to connect due to her insecurities and quirks. She rationalizes loneliness as keeping a dream of being able to connect. The only flaw is the end which feels a bit contrived and plays to the audience but overall a good film with great setting

i think one could die proud knowing they'd made this.

So Noah Baumbach watched this at least ten times before he made Frances Ha, right? The similarities are pretty staggering. I'm not sure why this movie is *better* except that it might be more cathartic or something? Like, there's about ten different conversations that feel exactly like ones I've had in my life. Whatever Rohmer lacks visually (this actually looks good, though!) he makes up for it ten times over with his perceptiveness. It's been awhile since I've felt this close to a film.

Rohmer's magnum opus. Loneliness here is as palpable as in Taxi Driver, and it manages to be intelligent without being overtly intellectual like My Night at Maud's.

The character at the center of Rohmer's Le Rayon vert is a living, breathing human being. It takes films like this to remind us how rarely filmmakers actually achieve such a simple goal. But Rohmer achieves it beautifully, letting us into the life of a woman who both frustrates and inspires empathy. Rohmer strings this out as far as he can, before finally offering some measure of relief in the final ten minutes. And that final image of transcendent beauty . . . wow.

Ceylan on Rohmer's films "As if nothing happens but everything happens"

How is it possible, in a world with this many billion people, where you are surrounded by a ton of people, to feel loneliness? A stark depiction of the struggle to connect and the issues - from pressure, to shyness, to self-hatred - that prevent it. I related far too much and found it very moving.

aşk, aşkı aramak, tatil, kadın, Jules Verne, Vejetaryenlik muhabbeti, plaj, tanışma, tanışma, SPOILER Tatile çıkma arefesinde erkek arkadaşının terk ettiği Delphine, yeni bir arkadaş arayışı içindedir. Masadaki vejetaryenlik muhabbeti iyiydi.

Sweet little green light for people pursuing mutual care. Brilliant exposure of complexity in casual everyday dialogues: Rohmerian.

sometimes the IMDB summary is not the best option

A few years ago this would have definitely been my favorite Rohmer film, as it is is easily the most transparently "naturalistic" work of his that i've seen, but now that i've come to appreciate his more overt philosophical/moralistic schematizing i actually sort of miss it here (i.e. i guess i like it when he shows guys like me how to be less shitty?) That said, this is an achingly on-point portrayal of a distinctive type of introversion that i can automatically relate to.

delphine is the sort of person who needs companionship in order to survive but manages to feel even lonelier than usual when she gets it. reminds me of myself - or at least an idealised version of myself, as i'm sure that disease of cynicism has eaten up my soul and left me an angry, cold shell of a person. yeah. not free of his problems, but probably sits atop the rohmer films i've seen, probably because of that relatability, but maybe also because of that bottle of rex attitude i was enjoying.

After the erratic viewing experience of the last few Rohmer films, this is undoubtedly a great film, an immensely deep character study which is pitch perfect. Its also a great film visually; I criticised the last Rohmer film I saw for flat cinematography but this shows that, when he lets the dialogue take a step back for the settings and moments of silent contemplation, he is as good a visual director as well as with dialogue.

A lot of this movie is unraveled in its sappy finale, but some individual scenes shine.

Extremely realistic depiction of depression. The bounty of life flows on in the background and we're stuck with Delphine, a dour look on her face. Majestic peaks, sparkling beaches, charming company, all means nothing to someone in that condition. But every time I've grown as numb as Delphine, eventually there is a tinge of life, romanticism, like the green ray, that pushes life to continue. Does drag in places, just like spending time with a real depressive.

One of the most naturalistic efforts I've seen by Rohmer. It's very easy to buy Delphine's character, partly thanks to Riviere's good acting, and partly because she says things a real woman, of a certain personality, would say. They're not that smart or conducive to plot advancement, but that's just what happens with realistic dialogue. She may be his roundest character.

wonderful :'(

Finalini biraz yapmacık buldum, çok sevemedim. Daha iyi filmleri var, onlar kadar doyurucu değil ama yine de tipik bir Rohmer. Sade, gösterişsiz, mütevazı, geveze.

Very interesting character study with a relatable protagonist that deals with loneliness and relationships and social awkwardness. A bit overly talky at times, but pretty good stuff, and a good depiction of the frustrations of being socially awkward.

Eric Rohmer invented femcels

Simple, unrestrained in its blatant portait of loneliness. She just wants to experience something magic. But it takes time. She doesn't want to travel alone. But she does. She cries and laughs. Goes to the beach and does things by herself, on her own - reading, eating. Is there anyone out there 'for' her? Perhaps the ultimate film about emptiness and boredom and longing for invisible things (the most important things) - even in beautiful places, among beautiful people. Best is saved for last.

I identified strongly with Rivière (who apparently is nearly playing herself) and her struggle to find the balance between what she wants and what people tell her she should want. On the one hand, she's not comfortable being alone, but she also dislikes the vacant chattiness of small talk and bristles at the demand that she do what other people want her to. This tension eats her up, until she finally finds someone who seems content to let her be who she is.

9??????????????????????kiss????/?????????????????????/Danger??"????????"??????????????/?????"??"????????

Me with one minute left- "If you show me the green ray I'll give an 87". As much as I can relate to Delphine this was missing something for me. It's still a refreshing change of pace because I've always been dumbfounded by movies like Naked or A Summer's Tale (both of which I prefer) where characters travel alone to unfamiliar places and somehow find themselves in deep conversation with strangers

oh my god how did he get all this footage of me

It seems Rohmer is wanting the audience to empathise with Delphine or at least feel compassion, but all I feel is pity interspersed with a growing annoyance with her. The scene in which she defends vegetarianism is absorbing as are the scenes with her Swedish friend (and their admirers) and the elderly people discussing Verne's book (and the green ray phenomenon). The ending is also satisfying, but the rest is unfulfilled potential. The dialogue is brilliant at times, but not often enough.

Em honra do centenário de Éric Rohmer filme #4. Isso é um retrato tão pujante e verdadeiro de mulheres introvertidas na sua juventude que não há como não pensar que o Rohmer era uma espécie de deus da onisciência, até o momento que sobem os créditos finais e descobrimos que a própria Marie Rivière é co-autora do roteiro, o que obviamente faz todo o sentido, já que é inconcebível que não houvesse o dedo de uma mulher numa estória dessas. BlurayRip no MakingOff.

Some top tier outfits in this flick. The first Rohmer that has stuck with me.

Really loved the muted colors on rough film dampening all the picturesque vacation spots. The descent into disillusionment with society felt a bit awkwardly paced with all the smalltalk scenes early on but with a more meditative piece like this one that's obviously just a nitpick.

As with all Rohmers I've seen, misanthropes of the world, beware. Actually, don't even get near this.

Viewed August 22, 2017.

Aí vc assiste com um daltônico que não enxerga o raio verde rs

I found it a wonderful piece of film-making — naturalistic, literary, occupying a very human scale.

2nd viewing

O tom orgânico dos diálogos confere maior verossimilhança às situações, todavia o filme falha no estabelecimento de empatia entre espectador e protagonista, mesmo com toda a choradeira da moça.

Reminded me of Lean & Hepburn's Summertime.

26 Aralik 2012 & en nihayetinde siz, kendi hayatinizi yasiyorsunuz acimasizlikla/ bir kadin bir deniz kenarinda aglarken/ vejeteryanligin, jules verne'in, son kullanma tarihi dolmus dedikodularin, bir gunbatiminin tanikligiyla/ en nihayetinde siz, kendi yemeginize devam ediyorsunuz acimasizlikla/ bir kadin bir sofrada yitirdiklerini animsarken/ yememesi icin direniyor; batan bir gunesin, tum gecmisini, gelecekte.

YAWN !!!!

#670

"Eric Rohmer's comedy, one of his best, follows a lonely Parisian secretary as her quest for a transcendent July vacation becomes stalled in misadventure and self-doubt." - Bill Weber

I kept thinking to myself, "Why don't I want to punch this annoying, self-pitying woman in the face?" It is to Rohmer's and Riviere's credit that Delphine is so relatable and true to life that all the incredible frustrations that should be attached to her incredibly frustrating character wash away completely. It's not perfect, but it's close.

679

Great Movie

842

# 803