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Episode 10 · 1 year ago

Eric Rohmer's Comedies and Proverbs Cycle, Part 2

ABOUT THIS EPISODE

In part 1 we looked at the first 3 films of the cycle:

  • The Aviator's Wife
  • A Good Marriage
  • Pauline at the Beach

We saw how each of these 3 films built and expanded on the same conflict of love and relationships between men and women. Honestly, they would have worked perfectly as a trilogy in their own right.

However, one of the most exciting things about Rohmer's cinema is one of contradiction - thesis - antithesis - synthesis. Each of the three first films had this inherent dialectic within them, but it is not until the second half of the cycle that the films start to directly contradict and be the antithesis to the previous films.

In part 2 we will look at the final 3 films of the cycle:

  • Full Moon in Paris
  • The Green Ray
  • My Boyfriend's Girlfriend

And see if the contradiction can be resolved, if some kind of harmonious consensual love in indeed possible.

SPOILER WARNING:

Our discussions are in two sets - one based on the basic plot and early development of the story - and then a dissection of the ending and the films as a whole. [b]There will be a clear spoiler warning[/b] at the halfway point.

If you have not seen the films in question [b]you can then skip to the next film[/b], the starting times are:

Introduction: 00:00

Full Moon in Paris: 02:07

The Green Ray: 23:53

My Boyfriend's Girlfriend: 48:17

Conclusion and Summary: 1:10:56

Welcome back to part two of our discussion of Eric Romer's comedies and proverb cycle. In part one, we look at the first three films of the cycle, the aviator's wife, a good marriage and pauline at the beach, and we saw how each of these three films built an expanded on the same central conflict of love and relationships between men and women, and we saw the same scenario played out in different ways, with escalating scenarios and resolutions. In a way, they were work perfectly as a trilogy in their own right. However, as we spoke about earlier, Romer cinema is one of contradiction, one of the electrics, Tisis and the thesis synthesis. Each of the first three films had this inherent dialectic within them, as you talked about, a dialectic of love, the electric of obsession, dialectic of men and women and if their relationships can actually work. However, it is not until the second half of the cycle that the film started directly contradict and be the antithesis to the previous films. Full Moon in Paris isn't Texas TURD good marriage, and the green ray is antisis to pauline at the beach and, in a way, even the entire series and with that, clearing the way to the possibility of an actual synthesis, a resolution in the final of the six films, my girlfriend's boyfriend. But that's all getting a little at the head of ourselves, and I'm claimant to be else. Are All back to break down the final three films of the cycle. The Hi guys. All right, hi, everyone. Happy to be back to discuss the rest of the series, especially as the Green Ray is my favorite film from it. Hey, guys, Clemman, very happy to be back to these because risk of cycled with you. Hey, I'm to be yes, I'm also very happy to be back, and the Green Ray is actually my favorite film of all time. So they'll be an interesting discussion. Yes, the green ray is a absolutely fantastic but that's again getting a little bit ahead of ourselves. So the first of the last half of the cycle is, of course, full moon in Paris, and again we explore the exact opposite of the scenario from a good marriage. Louise are, a lead, already has a home in a suburb outside of Paris. She has a loving partner who wants her and her only, but it is suffocating her. She needs to breathe and because of this, she resurrects her Bachelot apartment in Paris, and she needs Paris, she needs her independence, she needs her friend and needs her career prospect and her individuality. The proverb is he who has two women loses his soul, he who has two houses loses his mind. My first reaction to this, proud was okay with this. Is a long is the most complicated yet complicated even more about the fact that it is, I see it seems, with the subject of all this. Luckily we had our own French man, Clemanta hand. Thank you, Chris, for this nice introduction. The original sentence is he had different pers on them, yet we miss on television. The strange thing is that key in French is not he, it means whoever. So technically more correct translation for me would be whoever has two wives or two women loses his soul, and whoever has two houses loses reason. Well, obviously the two women parts can be seen as well having two lovers, which really discussed later, because, well, let's say that the film has something to do with two men, or maybe even more, who knows. It's an interesting problem because Roma actually came up with it himself. But honor who loves literature. I mean he started his career as a French teacher, so it's not very surprising that we did. He would come up with proverbs when you couldn't find one to express what you want. Full Moon in Paris does strike up a pretty startling different to at least the first two films of the cycle, in that it is just exquisitely shocked. Not polly on the beach. All of this started this trend with the beauty of the beaches, but here you're very, really outside. Most of the shots are in rooms and it feels so elegant. And it's also worth noting that this is perhaps the most famous lead in all of the films. Art House. Darling Pascal or gear place the lead, and she's just absolutely fantastic here. Like camera loves her. She's brings such elegance to this role. Yeah, I think it's impossible to talk about that film without talking about her, because of course the aftermath was that she died like very closely after the film, I think, from an...

...overdose. So there's of course a lot of tragedies. That is staying with the film. One thing, Chriss, as you see, talked about this in metography. I think it's perhaps the most or one of the most famous and photographers that Roma work with, Renato battle, who, Alster, shuts the e mail, the Lane Renaes and with shop into lie. So it's maybe not such a big surprise that this film looks so stunning. Done thing. It even calm. This film is also masquerades the kind of strange Blake we see in Louise, because again she is someone who, unlike the Beg Indi a good marriage, really just wants to have it all. She seems to love her boyfriend to some extent or another, but we can't be around every he needs absolutely everything at once. Underneath it's quite interesting, especially compared to all of the other leads in the series or looking for love. Yeah, and one of the quotes in the film, Louise says, unlike most people, I can't imagine loving someone who disapproved of me or ignored me. And I definitely felt like, when she says most people, if it was like she's referring to the other people in the films in the series, because in the first three films, many of the characters are shaking someone who disapproves of them or has ignored them. So incredibly true and in the way she's essentially the alternate lead in the other fields, that she is the point of obsession, while her boyfriend read me with what additionally have been the lead if this film was following the same kind of structure and goal as the three previous films. Yeah, I agree that she sticks out because, unlike the other characters, she's very hedonistic. She struggles with her life the way she she can, Sives of it it. I think, yes, pcial that's got ugi was perfect for this role because it feels like she's not really acting. We mentioned earlier that she sadly passed away from the drug overdose at twenty five. So she was someone living at the fullest, let's say, and this is something that we can see in the film in our character, that she wants to live life as much as she can and not have responsibilities or try to push them as far back as possible from life. And Yeah, for this Wolden, I think it's a role that was perfect for her. Yeah, it's the beginning of the film. She makes an interesting agreement with her boyfriend when she says, okay, if you find someone else, you go with her and if I find someone else out, I'll tell you and go with him. So basically they're pleading to be honest and split up if something happens. But Remy of course, who's maybe a bit obsessed with her things, that will never happen and in a way she's open to it. And I think in a way from the very start their relationship seems kind of doomed, like they they don't really insert himself for the in it, or at least Louise doesn't. It's adding to that really literally looks dead, especially in some of the early scenes when he sees Lui's having fun with other people. He just looks like a ghost. His eyes and his black rings other than he does looks terrible. Yeah, I was. When I first watched I was. I was a bit curious if it's just me who saw this guy looking absolutely strange with this eyes like rigid with blood and everything and looking very stale. But it's nice it's someone else makes the same observation. Yeah, I had the exact same observation about remi. He almost looked ill and lifeless. Leading on from there, I think her friend our time, for me, was really the least likable character in the entire series. It's a very, very weird relationship as well, because he's married and he claims to love his wife, we never see her everything to spend much time with her, even though he claims it does. At the same time he's does lusting after his friend and flirting with his friend and doing all of these very, very strange things which clearly shows that he is barely interested in her, to put it mildly. Yeah, he relates in a way to Paris intellectual which I think he hits in a very interesting way, certainly because it's close to him. There's also a scene in the restaurant. I'm not sure if I'm allowed to say what happened in it, but you know, he's certainly trund the film seems like he may be trying to sabotage her relationship with remmy. Oh yeah, definitely, he's essentially the person whispering in her ear, trying to lead her astray a little bit. And obviously, if he doesn't really need any help in that department, and he treats him almost a bit like a nuisance, but that's clearly what he wants to do. Yeah, perhaps you see slow, he's a bit as his muse is a writer after all, so it might be attracted to the sort of mysterious qualities in her, and I think Pascal Ogia put portrays she has his portrayal when she's on screen.

That is something mysterious and unique about him, something nightly, something that might link in her to the moon, sort of eroticism, mysticism and so on. Yeah, absolutely, Yes. I think it's also interesting to notice that. I think whenever she's in Paris it's during the night and whenever we see her not in Paris, in Learninga, where he lives up, it's during Daytai, usually very early part I remember he doesn't sleeve in a place where much looks like to be happening, and also because he doesn't seem to be a type of person who's feeling comfortable around people that parties. We mentioned earlier how almost sick and paid he looked when you was at a party at the beginning of as a movie. I think both Pascolo gear and after place really really manages to portray these conflicting for us in a way atmosphere between them always clashes, and one of the really interesting things that I've mentioned previously is that most of the scenes are set indoors and often we have simply two characters or even just lease, for instance, on a phone, and it works. The tension is there and part is the beautiful cinematography in the way of things is captured, but there's also something in this presence and it's not claustrophobic for most of it, like some of the scenes we saw inside fens the day where there's wife. It's former elegant is for more tender, but there's still so much passionate life there's is still drawn into these conversations, into these characters, even though there's totally little else happening around them, and it is just so well done. But all of the actors involved and of course Roman the cinematographer as well, at the interesting very nicely framed in these medium vies which should have gives the character some place to interact with her surrounding still to some freedom. I think one of my favorite scenes in the film's actually when Louis's at her apartment in Paris and she's just sitting around on her bad feeling bored, which she proves herself. I've never had the chance to be bored before, and so now she wants to experience it, and I think that's so nice to capture the way she simply sat up there until you sort of feel the boredom in her, which elicits, at least for me, a lot of sympathy to see a character that's bored on screen. I think it's amazing. It's certainly unusual. Yes, I agree. Personally, I think full moon in Paris is a least favorite of all the six films. It's still a good film, but something just didn't really clicked with me. I guess that's got rogier's obviously very interesting to look at, but I think I would have liked it a bit more if the focus was brought on the knee a little bit, little bit more in the film. We could maybe see a bit, little bit more our rainy films about the situation. Well, actually absolutely love the film in part because of how elegant and beautiful in the presence of Pascal or gear. I think it might feel a little bit light there on some of the content that the other films which have for more so I say, almost brutal force between the counterpart, like you said, in this one really is more distant, it's more somber, it doesn't have that punch, but it's just so beautiful look at. is so easy to be absorbed in it, and I just think that Pasclar get brings such a phenomenal presence to the screen that it's almost impossible to look away. It is quite a unique telling. Is also very unique for Romer. It's a film situation almost entirely at night, which is something you rarely see him do. It's very interesting ecodomy and also very usual the ECADEMY that Louis is situated in sort of between adulthood and childhood, or sort of what what we you call this being young and being a bit older. We can still go out where this being old and settled. And what I like so much about the particularly on the Rewatch, was how it's quite melancholic without ever being a vedly dramatic, and the atmosphere Roomach got to me perfect description to be as melancholic without being too dramatic. Spoiler warning. One thing that's really interesting here is that the final act, the climax, if you will, that in each of the previous films were played out as a confrontation between the two cow under Poles, plays out a little bit differently here. So in each of the other films we see a one to one meeting in a closed room and the act the differences...

...out, it's are sold and they go their separate ways, regardless of the outcome of the relationship overall. Here this scene actually takes place poor times. The very first time at the end of act one. It's like the film is already complete, as we see the strained relationship of me and Louise coming to pieces, which is also where the act the end agree to this arrangement, and then all else gone, all suspicions, all all of the midsection that we barely died didn't do. We then get the climax again three times. First with the friend October, who in many ways has been the other love interest, if you will, even though he's obviously never feels anything for him. He comes into her apartments, purchas himself on her, not by force but just by his words, and really tries to win her over. And this confrontation placed out again exactly the same way the previous one, trying to push the other out, one trying to leave, and we see that relationship or sold. And then something a bit interesting happens. We get intervals between these. We see Louise meet up with a lover she has just met, cheating under knee for the first time, her waking up and feeling comfortable with herself and going to restaurant, the meeting a complete stranger, and they play out this act really speak. It is speak about the moon and they speak about the alignment. This be about some of the things that in many ways reflect Louise's in their life itself. In that many words, this third climax is her encountering herself. And then, finally, finally, we get the repeat of her conversation with Remy, but now the tables are turned, because we all remember the compromise that she forced upon her me that if he found another woman, he could tell her and leave and if she found out the man, she could tell him and leave. And she never thought remy would do it. But Remy has met another woman. Remy is leaving her, and this just after her discovery that she actually wants to be with him, as she actually wants to live with him, as she actually wants to make this her life, and it is a, again, not all the dramatic moment, but it is certainly a somber and melancholic moment. I don't know if it's truly is the decision to stay with Remy, but more a sort of a sudden regret on her part or having cheated on him, and then her gut reactions to go back, whereas I think during the entire film what she really wants from Remi is stability, stability to that day life, and that's what me gives her, but she also wants something more and she can't have both. YEA, in the end she end up suddenly losing both. You know, actually I was thinking that the ending as you were talking, and I think I may have to take back what I said earlier on about the film not focusing enough fun on rainy, because that I think back about it, the final revelation, let's say, is probably way more efficient because we haven't seen him that much. Well, we have this doubts, let's say when taught tells we set the mail so someone in the CAFFE, we didn't really know what happened, if Lem me was seeing another woman or not, and now with the final scene. Everything just is revealed in a very brutal way. But they made very efficient because Lemmy was absent through the film. So we could have like Louise the well, you know, maybe it's not you with we think, and maybe things were turned out to good, but in the end we see that it's real and sadly it's all put over for them. I think she wanted the best of both worlds by having both houses, and I think when she talked about remy meeting other woman, for example, I don't think she had an expectation that he actually would, because he's portrayed in the film is someone who doesn't particularly like going out and doing things. So I think herricane of ideas backfired on her and she's the one that ends up and happy, whereas Remy, who seemed unhappy at the start, seems actually to be happy by the end of the film in the final scene, really finally looks alive, like both black bags under his eyes...

...are gone. It looks like a much healthier person both physically and psychologically. Yeah, that's true. I think that outlines said in the ends. This relationship wasn't very healthy for him either, and it's quite interesting because in a way they're quite the opposite in that when Remi finds out that he wants to be with us as a woman, he tells Lue's Pretty Much right away when he knows for certain, and I think that ties in a lot to the central conflict in the film, which is commitment, which is something that she doesn't commit to just one thing. She wants the way she wants it all, which is ultimately untenable, and I think this is what makes the character tragic in a way, that she's almost this nightly creature. You can't truly exist in the day and she wants, you know, life full of bliss, of constantly going out. She doesn't want to settle down, and it ultimately does work and in a way it's very set for I definitely to compassion with her situation in the end. Also, I'll think it's really beautiful the way roamer, once again book gets it. Just like in Pauline at the beach. The film starts and ends in exactly the same way, and this is something that ties in with all of the previous films in this cycle, which is that every single film essentially start and ends at the same point. The average is life slightly reaches this, but it is more or less a line. The other three films all match up. In this case it's a pan towards Louise's home with ready and in the end a pan of Louise walking away. And there are so many tiny touches we haven't even touched upon here, such as this being the first of this cycle that's actually completely segment into chapters, each by the month they take place in. And one final note, because we talked about this in the previous podcast as well, with trains. When I saw this in the wit where we getting on, so happy to see the return of trains, if you will, and by the fact that we see a train drive by in the distance as the short pants in towards her home. This is something we saw in the very first film, with our lead always walking from trade stage in the train station and never getting on the train, and then again in good marriage, where the character is always on the train but we never see her go on or off, and here we just see the train passer by. In a way it it's quite interesting. I've just two last things to say. First thing, I think is in it's interesting to see that the woman really ends up with at the end of the film is a woman he actually met at a party that who is wanted to go to and he didn't want it to so I think it's it's interesting to see that in a way she's the reason why he ends up with her. And the second thing I wanted to mention is something that Tobias said earlier on it when it talked about mysticisms. At the end of the film they have a discussion about the full moon and they'll people are influenced by it, because this is something that comes back later on in the next film. We will talk about the Green Ray and the ways quite similar to the scene on the Green Ray. That's it's very nice observation. And maybe one quick thing. Faith. She doesn't have faith in one thing. Maybe she has faith in it all, you know, the the universe aligning in her favor or whatever, but she doesn't commit to do anything really. She she wants to have it all at once and that's why it crumbles. And both of those final statements are in somewhere a really good set up of the Green Ray, because in it I really the theme doesn't even really know what she wants. In fact, the Green Ray is absolutely unique within the commedies and problem cycle. But as each of the other films tracked relationships between men and women, the green ray follows the relationship of one woman to herself. We follow the scene who, in the very first scene, gets a call from a friend telling her she can't join her further plan vacation. And with this she has a dilemma. What would she actually do? Who will she actually go on vacation with? What we should do with her summer? Every option, from family to friends to seem less appealing. She just can't stay in Paris and she longs for something else. But she's an easy and the suburbs. She's an easy at the beaches. You should easy even in the mountains. In some ways she is the complete opposite of Louise before. What really wants to have it all and be in Paris? Does we just want to get away from Paris, but in a way it seems that she just wants...

...to get away from herself. But most of all, this film can be seen as an antithesis to the higher teeries and perhaps first and foremost, pauline at the beach being the second vacation film in the series and if you do look at that. Contrast to pauline at the beach, which in some ways almost feels perverse still, to the sexualized, the nudity in particular, feeling almost grotesque and dead corn always being at the forefront. The Green Ray is, in contrast, so naturalistic, so light. The fee is never sexualized at all, unlike Myriam in pulling the beach, and even scenes of nudity not feel sexualized at all. It simply feels normal. And there's a shockingly impressive reason for this. Every line in the green race actually improvised only this, and there is in the plot. Progression was set even more impressive rumor was experiencing with just how small he can make his crew, putting it down to, I believe, about five people, and shoot with a small character on sticks in millimeter film, like everything tripped completely bare with fole the scene from day today, today, and the proverb is Ah, the time comes where the heart falls in love. And I know this is an absolute favorite for so many of us, so I can take it on to the person who loved it the most of all. To be us. It's like corrections is actually a skeleton crew of only free people so that means a rumor, his cinematographer and then a sound recordist and, I I guess, also sound designer. So it's like in Shod at the bare minimum and a shot, as you said, completely improvised. Much of the script figured out in tandem with a media very who plays the lead, who's was credited as the writer here, which is an in a lot of place. This is an incredibly unique approach for Romer because he never did anything like this before and by all accounts he was quite nervous before shooting it because it was so improvised. But on the other hand he also felt quite free with the structure because he had such a small crew, which allowed him a lot of freedom and of course any expenses that they had again would be quite small and it allowed for a lot of possibilities. I think we're so remarkable about this film in the end it's actually that it's shot almost like occasion diary. Okay, so I have a reputation on here for disliking a lot of the characters in the series, but when it comes to Delphine, I really loved her in this film. For me she was the most real character. So by this point you've already seen four films. Most of the characters are saying exactly what they want, they're making crazy decisions, you know, they're in the wationships, are unhappy. And then Delphine, for me, in this film, was the only one who wasn't really articulate exactly what she wanted, and you know she was very unhappy, but she seemed the most genuine. I think there was a kind of documentary filter as well, perhaps because it was improvised, but yeah, she certainly seemed to me like the opposite of many of the other card in the series, and this ended up being definitely my favorite film of the series. Yeah, I agree with you, Adam. I think the fact that the film was improvised helped a lot to add to the realness, let's say, of the dialogs and the way we feel about delphenom. Overall, it's my favorite film of the series as well. Think it's very different film from all the rests. As we said before, it's probably the first film of the series where the main character doesn't have one love interest. She doesn't know what she wants. As we said, she tries to go to places, to the beach, to mountains, to stay in Paris during the summer, but she feels like she's not feeling good wherever she's going. She's looking for something. We can tell that she wants, she needs something. Something's not going right in her life, but she doesn't know what it is, and it seems that's no matter where she goes and no matter who she talks to. She doesn't feel like she belonged where she is, and for this reason I think she is a very touching character and character that we feel a lot of were, at least I felt a lot of sympathy for. It's a very different character from the rest of the series. More sympathetic character, yes, it's really character that feel else very sad and lost, and week is not the correct word, but she feels and secure about everything, compared to all the other characters who seems to want something. They know what they want and they need to get it no matter what, and for this reason...

I think she is a poor is a most interesting character of the entire series. I also think there's an absolutely beautiful, interesting contrast with the way she feels and just the way the film is shot. That's the first thing I noticed. There was just like this is so much light absolutely everywhere. Let me see her sitting in reading. Light comes in. She's on the train, light comes in. And I also thought was a really interesting contrast to the aviator's wife, where Maria we are also play the cold lead, because the phene essentially lives the exact same life as Anne. If she has the same job, the office related, she has the same actress as a friend and she's essentially has the same tiny apartment. But where as apartment was completely dark and shut off from the world, the fiends is always filled with so much light and the focus is almost always out the window or the light coming in. This also really feels like a purposeful contrast to her eternal life with inside is clearly almost screaming, or at least they experiencing crippling and rest loneliness. But all around her there's light. Its light everywhere, and it's just makes it feel so incredibly powerful. Yeah, I agree, Chris. I think there's a lot to be said about the cinematography, simply because it emphasizes so much with the point of view. She gets so much freedom in the film and the camera constantly follows her, even in in a state of complete idleness, looking at her and by giving her agency in the film, I think we come to sympathize so much with her. It's an interesting point regarding the cinematography, because Romer he wanted to work with an entirely female crew here, and finding a female cinematographer proved quite hard, so in the end he settle for a twenty three olds the meatograph who had never shot a feature film before, Sophie Mounting You, and she did an absolutely remarkable job by all accounts, often with very simple compositions but which are incredibly effective in the end, like this scene in the film, which is delphine walking around idly and in the fields and she ends up at defense. She looks out across the and she looks at the wind going through the leaves in the trees, through the vegetation and then she begins to cry. It's almost rhythmical in the way it's cut and shot. It's completely remarkable houses film captures nature and captures a lot of situations with a lot of quick cutaways and often very interesting observations at the camera picks up. I think it's also really interesting that there's was only one scripted quote, unquote. See Veri was supposed to cry. All of the other things with the prisis improvised, her living, her character, bringing all this tenderness to it, and it does work so incredibly well. The fact that this so the dialogs were improvised, also added to the feeling that this film is very different, not only from the other fream of the series, but also from homer's filmography in general, because he loved writing dialogs and adding very precise ideas of what he wanted disasters to say. So it's extremely trench let's say, to see that he decided on this one to completely turn the table and do something completely different. Yeah, it's quite interesting. I was reading something from an interview where womer mentions the greenway was originally going to make an intermediary between the comedies and proverb series. He sounds like something I regret a bit. No, it's putting it and as part of the series. I'm not sure exactly why you regrets it, but I thought it was an interesting thing because the film does feel a bit different from the rest of the series to me. Well, he was always considering putting it. Did in fact the other improvised film he did later. He also considered putting in, but in the world early working stage, decided against it. The reason why he regrets is actually because he has said later this will be the perfect number for his four season series, and he kept saying that he could never make a better summer. And in fact, I'll turn the title of this film, which is often used, is summer, making it really confusing. The obviously also roamers summer tail from the four seasons. He also said that he wanted to finish the series in a more optimistic way, and I think that's some certainly something he achieved the last two films, and the last two films are actually ten my favorites, and I think it's the optimism in them that makes them quite different from the other. For another thing that is very unique in this film is that Roma explicitly uses fantasy elements in this film, with the thing randomly finding playing cuts on the ground, which of course, could potentially be it's not like finding an elephant the open street or Goblin or...

...whatever, but it is quite strange and it is magical. But what's happening to her? And she finds it particularly she finds the first one in the place. It's maybe understandable but then later on she finds the very strange place and she's also haunted, or she's she feels chased by the Color Green. And then, of course the tile wall is an allusion to a Juvel, novel, which is another thing I like so much about the film. That phenomenon of the Green Race explained to us by a group of old people who delphine randomly passes by, and this idea of this novel and this idea of this phenomenon of the green right it's implanted in our minds. And maybe we should go into what the Green Ray is. Actually. It's a physical phenomenon. Then the sun sets down and when it's just below the horizon and you haven't extremely flats rising, usually it's only possible oversea or desert that you see a green ray instead of the normal yellow orange as the sun, just as a last ray of the sun, that's a very last one, when the light is broken in this exceptional fashion. Yeah, I just want to say that thing magical. Perfectly sums up the whole film, and this is exactly why I, probably many of us have as our favorite film in the series. Everyone with me, essentially, but this did my second favorite of the series and is still above my all time favorite films. So I am at to say everyone, everyone with the correct opinion has it as there from the series. And then Chris, obviously is a good host, but he's incorrect this time. Unfortunately. He used to agree with me about David his wife, but what can you do? Yeah, I changed. That's like my second favorite now, but I changed my opinion after this one. Sorry, Chris Wells, but it isn't said above of the reasons why it is so fantastic and why they so did for this. There is this one relatively famous robber called where he tried to sort film works into architects and painters. They called himself an architect, someone who use space around in very specifically and didn't want to do something else with it. But here it really feels like is the painter. You have all of these just delightful, delicious frames all throughout the films, including especially the scenes inside of the fens apartment, which you might just be leaning back reading a book, and it just so beautiful, the way he plays with the light, the way he plays with the colors. That is I don't think I've ever seen a Romer film do this before. I think the sixty millimeter might even add to that. Thing that I particularly admire about the film is because the crew so small, they were able to just go out and shoot on a crowded public beach and you got scenes which are quite unique. Can that's something that makes this film so lively. Well, we know how homel didn't like publicity and how he was private about everything he was doing, about his life, and how we didn't like to be recognizing public. I don't know if the other person's in on the beach, for example, the new that film was about to be shot. It just seems that everything that goes on around is part of real life. I mean I really think that the fact that everybody were improvising their lines and reacting to Murray, we we are place into this. I we don't even comment on this later, that if you give an actress gript thank you really have it up and break it, but if you let them react naturally, it really really works. And want to focus a little bit on the actual improvisation, because nobody actually knew what we reverare would do. In some cases, actors who are literally pulled off the street as instant replacement in some scenes all wrong, would tell people would be get her to do this or ask her about that, and it just creates such electrifying atmosphere. But addict, let me talk a little bit about how this film is all about the theme struggling with herself and struggling with a relationship with other people, and think this improvisation also makes it incredibly awkward. You really feel the tension between her and the other characters on screen and you can feel the awkwardness, the unease as she's in some of these situation, and that's probably aided by the fact that the people wrong this didn't even know what to say, how to react, and it does became something so much stronger, so much beautiful, because of this. Yeah, Chris, I think what you say ties in a lot with the comedy in the film perhaps two, which is very much a comedy of human interaction. When I watched it for the first time I didn't find it funny at all. It just found it tragics. She was sort of unable to connect with the world around her. But on subsequently viewings a really funded a more and more funny actually, and which is exclusively based on the characters sort of riffing off of each other and for a scene with so much improvisation,...

...is actually especially impressive that some of the strongest scenes are just of re revere on her own, just seeing her walk up a mountain side, for instance, at seeing her just walk or sit alone. They're just so powerful and seeing this film is just shocking and surprising and sad that she never became a great French actress. I mean she's essentially only has major starting rules in rover films, though luckily she is in decent you others. And while this film is in so many ways sad and somber because we feel with a fine as a character, I think they also need, we need to stress, all they talked about earlier, that this is really the perfect summer film. It too seems on the beach, the light us, the way it shot, like this really embold these tumber and there are elements of happiness here too, and like this film as a summer film is gone into my mind to such an extent that you know, if I'm on the beach, this would be the first film that comes to my mind. It does has such a great impact as a summer film. So don't be in any way put off by how somber and sad it might sound. Yeah, I think I'm perhaps the most involving film about vacations really, because it takes us right intern cential dilemma, which is a very modern one, what to do with my entire vocation. And it's also this interesting that this film, just like woman in Paris, was actually segmented and in this case beautifully hand drawn cards for every single day as the story progresses, and it just moves so smooth and it feels so nice and, as you mentioned earlier, as this summer log in a way, that this diary of a summer. But this does lead us to the conclusion and the spoiler section. Spoiler warning, let us mentioned in the beginning there is no actual relationship are now. Delphine hasn't actually been with anyone for two years and part of the story is her getting over this love in some way, but that's not really present. They're the focus of the story is simply her, seemingly unable to love herself, seemingly able to be comfortable anywhere, and this start to slightly change when she hears the story about Dules worn't novel and the Green Ray and what it can do, and it's a really interesting scene because it's the only scene really where the camera leaves her. It just focus on a group of people talking about the book and talking about the phenomenon and stays with them before we again see her as he is absorbed at all. In a way it starts a feeling of hope, of magical belief, and this is vers gets a little bit interesting because she goes to a train station. As we talked about previously, trains are a massive part of this series and for the first time we see the inside of natural train station as she sits and waits for a train and she meets a man. He notices her book. Ironically, she's reading the idiot. This was completely by chance, the Romer said. It couldn't have been more perfect. They strike up a conversation and somehow they come to the conclusion. Or actually she invite herself to come with this man and they simply this for a few hours so they can talk. They sit outside a restaurant, they talk, they bomb. In many ways it reflects the previous films in that it is in fact the opposing force, in a way revealing itself. This does seeen talking about herself and opening up and in so many ways, as opposed to all of the other climaxes throughout this series, it's not the end, it's a beginning, especially as they go up to the top, for he'll sit down on a bench watch to see and actually see the green ray and the theme cries and the film ends very open ended. Has It actually come a time for hard up to fall in love? It's beautiful, it's simple. Looked at faith, it looks at her as a person and it gives the hope that maybe, maybe, if you just are able to love yourself, love can actually be possible. ITER is a beautiful ending and something that I've noticed the last time I was watching with the said Roma almost makes us suspense about the sunset, which I think again it's very funny, but it's just...

...a perfect ending really. Yeah, I think the ending scene is my favorite moment in the entire series and I kind of felt like it was a reward for Delphine. You know, she kind of suffered throughout the film. She seemed the most genuine and I saw as a kind of reward for her, whereas other characters, most of their characters, didn't end up a happy ending, but she got one. I can't think of ano relay to describe it. I just follows an amazing and yeah, I agree with all of you. The ending is really beautiful scene. Actually, someone else that's to film the Green Reagan. From what I read on Wikipedia, I took him about seven months after the film was made to finally get a chance to film this a green ray phenomenon. So, yeah, I think it's a good thing that the ending is a good one, and I think it's also important to notice that this is also the first film where the ending is not where the film started. Here she ends up in a completely different place than she was at the start of the film, which completely breaks this circle that we had from the beginning. I think that it shows that she went toolong a long way. She's not where she was at the start. Something really happened to her during the film and she managed to break the circle and finally lead the different life. Yeah, so I feel like in many of the films in the series is for a characters making huge demands for what they're expecting to have or having this big illusion about the relationship and how happy is when it really isn't. And I think that feeling was the only one who was truly being honest with herself about her situation, and I think the ending was basically like nature rewarding her. I think it's also a nice height note that Romer, who was a practicing Catholic, said it was really uncomfortable filming or presenting his faith in any real way, that we obviously dipped into it at a few points, such as Manet at mode, but that they loved people who believed in something, and this film, obviously, to feel, finds this faith in the green ray, feels like a really hears sympathy for this faith and it also wants to reward it in some way, finding with everything's that's been said. This is also why it feels like such an antithesis. The entire title. It breaks all of the rules, all of the conventions. Is Not directly about men versus women. It's about a woman loving herself. It doesn't end in the same way it started. Everything is free, everything is open in so many ways. Watching is I really felt that this should have been final film. There's so many callbacks throughout and it releases everything. It gives hope. However, being antithesis, Romer also had to make the final synthesis, and this is where the next film comes in. Say Welcome back to our listeners who did not want to get the green ray spoiled. But it's really important to understand the important of my girlfriend's boyfriend by knowing that the green ray opened a door to something new and let a conclusion to the cycle, a conclusion to the internal contradictions Romer has been exploring so far, possible and roll replace into it is most clear and an ambiguous metaphor of all and new city. All of our characters Libor work in side of a brand new city, just built. It's beautiful, light, open but empty. This this is also where my girlfriend's boyfriend promises a new plot, a new story this time. The film opens with two women, Blanche and layout, meeting for the first time and we follow as their friendship grows. We also did something that they've never really seen before. Blanche, our main character, is a woman who, for the first time, actually seems relatively confident and happy. Can I leave the cycle actually have these qualities? However, we quickly start to see call back after call back to the previous films, including near direct duplications of the relationships or the premises of the first two films. They and their boyfriend essentially mirroring this strain and serious relationship in the images life and blonde seemingly falling for someone she barely knows and starting to pursue him with the help of Leah, just as in a good marriage. So has something changed...

...or is everything still the same? Yeah, you mentioned the city responded, and maybe, just before we start talking about the film, that could be very interesting to point out that a Roma actually shot the documentary about it in the mid s where he traces development, and now he returns to it to ac she's, I guess, questioning what, what kind of life susplaced with facilitates in a way, and the place as almost seemed excertainly futuristic to me. That's this almost a thin place of science fiction over it. Yeah, building on what could be, as just said just I can be a viator's wife, where the park was basically my favorite character, if you can call it that. I think in this film the best scenes where in the background. So I very like rumors used of setting. I think you mentioned to be as a very interesting point earlier on when we talked about the city and how futuristic it looks. Didn't really thought about it before you before you mentioned it. When we look at the previous films of a Mare shots in Paris, he shots in the older city, part in remote you also shot in a small village. All of these different places are old places really haven't changed for a long time. So it's interesting to see that the last film of the series takes us to the future in a way, future of architecture, while still keeping a very important place for nature. I think that's a great point. In fact, what you in me think now is that, because the place is so new, you almost feel like the characters haven't quite figure out how to lift there. I think that's completely right and it's also really interesting that if you blash looking me out of her window and you'd freeze. Haven't even grown. That is so bare, possibly quite unlike the characters, because there seems to be a bit of a change here in this how the characters are presented. They don't think mess heavy, they don't seem as subsess they don't seem as constrained as our previous characters. I think we talked with Adam before the film talking about how, once again, these were characters was actually a lot easier to like. Yeah, again I had a reputation for not liking characters, but in this one I like them a lot more and I think the film had a much more fun kind of feel to it. Was a little bit farctical, but it was a fun kind of later atmosphere than the other films. I also wanted to mention that Lucy from the aviator's wife makes an appearance appearance in this film as well. So you might not have noticed. I know Chris watched it and didn't notice because she looks quite different in this one. She was in very few films, so it's very cool to see her pop up again. She didn't play a particularly nice character, but it's nice to see her making up appearance. I think it's also really interesting that in many ways you contrast a previous character and even plays a bit of a similar role in that she rebel rouses a little bit with the lead, put some other ideas in her mind and it's a bit of a joker, but obviously in the very different way. All spot on an atmosphere, because that's one of the main things that really separates this from all off the five previous films. Atmosphere is actually again in late I just like in between ray there's so much like hair everywhere, but it's not contrasted wight internal screaming. It's contrasted with this light. They're more farcicle harmedy, which is such an interesting change of pace. We're really starts evolved here after tow of the initial setup is that we have constellation of two sets of partners, launch and Alexandra, who are almost in a minited most kind of relationship where one is after the other, but Alexander doesn't know anything about it and it feels kind of contribution, similar fashion again. And then this Leah, and it's this name here, I think it is. We're in a normal relationship. And then after a while of lunch pursuing Alexander, and I think quite happened, she slowly gets introduced to Pierre and Leah sort of starts to say that she's slowly falling out of fashion with him. She has this trip to the holy day they were she constantly fights with him about where to go and then she doesn't want to go with him at all. And then there's suddenly an opening where launch and Pierre said to have some chemistry. I kind of felt like the characters matured as a series went on and in the last two films you're a lot more mature and easier to like. I also found it quite refreshing in this it is the people they are interested in. This film seems a lot more suited to them, whereas in some of the previous films didn't seem to it at all. So I thought it was a nice conclusion to the series. I think was at you to see all of these different callbacks...

...to the previous films within these characters. I mean, in a way, Leia encompasses at least three of the previous lead characters. Her relationship almost spot on from the aviator's wife in that in the very first scene, to see him coming after her, him trying to get her along to a party, her completely disinterest, and see this train relationship. At the same time she talks about this great love, great wishing for herself and how she can get it, speaking almost as a child, wanting all of these castles in Spain bring her over to Sabine, and then you also have this sense of her resembling Louise and that she also wants it all. She wants to have absolutely everything at the same time, while blonde feels like a lot more of a new character, perhaps even, I'm more matured pauline or Lucy. But then, as to feel kind of progresses, we see her far more emotionally insecure. We see her remind ourselves a lot more about, say, Delphine, just looking for love. And then, obviously a little bit more is the begin as well, as she started this range chase after Alexandra, and I think this is a really fun place to also say the proverb, though we boil what that means later, but the proverb is my friends, friends are my friends, and this probably starts to explain a little bit of that dynamics and more fun than a mix of these four characters as they intermix. Spoiler warning. Obviously, the proverb here is extremely playful in that launch slowly start to fall for Pierre and that blonde developed feelings for Fabian and Leah starts only developed feelings for Alexandra, and these relationships just start to switch and into tangle, and it's done in such a playful way, which is very strange for Romer in that it doesn't really seem to be any direct judgment there. Yeah, certainly that's essentially you have a woman's best friend and her her partner, both cheating on her and the end everything turns out fine and they are love about it, which is a very unusual for Romer, although I think maybe there's a more sinister on it and which will talk about in the end. I think something that really evolves the fungus on this is understanding that both Aliah and Alexandra and launch and Fabian as partners say quite differently and body perhaps different kinds of characters that we have already seen. Or do systems similarity? Where Aliah and Alexandra are more he do this sig more in the moment, and this even this funny scene where I like Sandra, talks something about not going out with any other women for six weeks. So, or is it six months? I don't tell, you remember, but are at the long time, especially for him, and then at the end he just takes it down to a couple of days, whereas blush and Fabiana post more constant. They want something lasting, which is also part of what they bond over this similar approach to life. The scene in the wood, which was, in my opinion, one of the best scenes at roamer ever made, because it's simply such a romantic scene where you really feel that these true characters are not because they suddenly have this amazing chemistry where you really feel what they wound over, and scenery around him just supports it, because all lush and green and summary and everything sort of comes together around this moment. And then, of course, this afterwards, this this question, is it all wrong or is this all right? So towards the end of the film, blunch says I realized that what I loved wasn't a person by an image, and that's one of my favorite quotes in the film. When I was watching all I could think was if only, if only, the other characters in the other films could realized that. I also wanted to say that not my adding much to the discussion, but Fabian will be my favorite male character in the series and I think they were really nice couple in contrast to some of the very dis dysfunctional relationships we saw in the other film as well. I think the court I just mentioned coming in the final film difficult, because I'm kind of focusing on the idea that characters are matured for the series and I, Delphine, you know, got happiness in this film. The characters get happiness. Had noiations that they ever characters some point in the habit all, but the spot on their other meaning in the way, it's got to crack the entire series in that each of the other films, the barring the Green Ray, which was still theme, struggling with the feeling for self. All of the characters are longing for someone who's just not that interested in them, and in this film...

...large realizes that she was never even Christian Alexandra. There's nothing there, and this also starts to tie US over to the end of the film, where all four of these characters manages to match up with someone who does fit them. Just as to be assessed, these are obviously two previous matches that weren't made for each other and they actually found someone who in many ways are perfect for them. Yeah, it relates very interestingly to a famous work by good to that Roma probably knows, elective affinities, where he wrote a level essentially based on the concept of love and human relations as Chemical Interactions, were two couples meet and then they spot partners based on a partner simply fitting better than their current partner. And this isn't a way. Also what we see this an element of ease to it, and this is very strange for Roman like what is this opinion on this? Lot of his films is more of a Catholic moralistic sense. And you know what about the institution of marriage. And so also very interesting that Romo, who seems to be obsessed with marriage, jomas, he would have the opportunity to make sure your film about married people, but didn't know one's in this film is married. And this this sort of a weird free spiritness about it. I think you hit on something really important. To be asking you should take us on to the final scene of the film as well, which in all of the previous films, including the Green Ray, has been this confrontation. There's always in the Final Act, is a confrontation between the counter poles. They clash. There's a scene in the closed room. Obviously something happened in the green ray with the openness and the acceptance and the ability to build something new, which means that here at the end, actually aren't any counterpoles. The situation has actually been resold, the contradiction has been resolved. The to mismatch couples has re arranged themselves perfectly and this contradiction just doesn't happen. Instead, we essentially just get a farce. We get a confusion where Lydia feels guilty for being with Alexandra, who she thinks largest love with, while launch is obviously really destroyed about having gone behind lay us back and sleeping with her boyfriend. They meet up and they have this just confusing situation where one beliefs talked about daughter's boyfriend and it says results the joke. We realize that's not the case and everything results happily. In all these four characters just sit down at the table. They talked, they smile and they did part as friends and in a way this is not just the resolution to the entire series, but you can even call it the contradiction a palm the moral tales as well, because all of the moral conventions are broken. They seated and they were happier for it. Well, given the personalities of some of them, especially Alexander, and not sure their relationship will last that long, but at least at the end of the film they seems to be happy with each other. I think I noticed about the ending, obviously intentional, was the color of the shirts that they were wearing. Blush and addicts on wearing a green while Leah and Fabia are wearing a blue shirt. So that's not it was a nice such and I show you. When I saw that, I went back through the film and took a piece of paper and the pen and started writing down at every point there's a core of the short they were wearing and I planned I'll maybe like twenty, twenty five minutes trying to find links and connection. Saddly, I couldn't find any connection, but it would have been funny if I could find any. And maybe if someone does that, maybe she will find something that I missed. But yeah, as it was a nice, nice touch to to add and something that made me wants to rewatch the film to thought little details I would have maybe missed, but absolutely fantastic. Initial you engagement claim. It's even a little bit fitting and believable the robber could have done this, because one of the things he actually did in this series will start for each film. He picked two specific colors and played with them with with also used in the posters laters. It's this really thing that they always kept colors in mind, even though you couldn't find that magical key you were looking for. Yeah, the colors of their shirts and pass I think, something you can't quite uncie...

...once you've seen it. Essentially what I feel like is going on. It gets a bit comal because there's so many scenes were the color sweat, but it always revolves around blue and green, with particularly lea and Blanche always wearing one of those wearing blue, the others wearing green, and I think the obvious analogy to this drives towards is that they put their partners like is. I close almost because it's very start. I'm quite sure they actually wearing the opposite color that they end up with and that these pears are color Midge in this way, which is somewhat of a sinister commented almost feels like Roman sort of. It's a hole in this happy fantasy at the end, like you can certainly discuss what perspective wins out, which I think is really really open and where I will leave more towards saying it's somewhat of a happy ending, but he sort of points in the directions that maybe this is all vanity and they change their partners like that close the great observation, as felt it be us, because this really ties into how Roma always makes this film. Even though he has these central contradictions, he always loves to play with minor contradictions of every single interpretation you might have. So the fact that he always add how the idea to this happy ending, this beautiful spirit and ending has a fakeness to it and wouldn't really work. I think that's also a perfect interpretation and something that's quite word considering. This is a really interesting dichotomy that Roman place with the ends of time, swapping partners because and then, of course, the implications at all of this came about by cheating and by being quite quite easygoing about what happened, which is, as we previously said, already quite a counter point to what he previously detailed in his films, where he portrayed should to a behavior much more is immoral and he has much more open sort of what exactly is the while us are that we should attribute to it, because I think ultimately at least launch and Fabian come out of it quite well. They're not portray particularly negatively at all and they do seem like a very good match. So there's perhaps not so much that ultimately speaks against it. Yet it's it's interesting that Romo counterbalances this lights and easygoing drumcome atmosphere. This is maybe the little, the lightest film he made up to that point ever. And then he counterbalances this was this sinister, sarcastic metaphor by switching partners, like close imitation of life or something, that they were hollow moralistically. He weren't really they were hollow as humans are. Express myself really, but I think it's quite clear what I mean. Also really interesting combinational photograph for such a long time in beginning, which is just about this new really artificial and empty city. So there are even more pown the points interacting here. I think it's also be fascinating that US to love between Fabien and blanche grows like a lot of the things for the bond are out in nature as well. They're in bright, beautiful light. I we just never see or feel Romer judged, and in fact it's large. was really serious about this and feels horrible about the tray Leia and brings all this morality into it. And it's only really when they yeah and forbien breaks up and that he sees he's free. That's it really goes for it. Before that I was feeling so terrible about everything she had done. But in that way too, it's also just coming over or morality, which is the interesting counterweight to the moral tales, in that by overcoming her reality, the same with lay as she felt really uncomfortable being with Alexandra because it felt like he was betraying blanche. That by overcoming their own morality, which perhaps was quite light and frivolous, not really based on the best outcome for any of them, take on the happy ending. Yeah, in a way it seems like a dichotomy almost between nature and society, where the society obligations is what leads them to consider OAS is cheating. But really, with the interaction between Blanche and so we only it all seems quite honest and they don't play those societally induced love games of say, Pauline, it's a beach. They actually seem to completely honestly fall in love with each other. And maybe that is ultimately why Roman lets some of the hook so's easily, because he has his immense adoration for nature and perhaps he seasons this relationship between Blanche and Fabian, something quite natural playing out and something honest where they end up going all in which I think is a quality here admired in his characters before. Also, as I've been walking about trains throughout all of this, it's really important also add that we do see the characters in train stations there, and in a different way from other films.

We actually see them go into train stations as they are taking a train and go out of train stations as they are leaving the drive. Never actually see them leave the train themselves or on the train. So we can speak a lot of a train sement throughout this entire series. Obviously, do is different in every single film. Even in Pauline at the beach, for a train is never shown. Marian takes a train off screen. So it is just really enjoy that these characters who get the happy ending, or actually the people we see go into train stations and leave train stations completing their journey. I think it's also interesting to notice that, just like in the Green Ray, the circle is also broken and the characters do not end up where they were at the beginning of the film and to sum up the entire cycle as well, because we really did see a complete dialectic here, where we start off with a man obsessed with a woman, then so a woman obsessed with a man. We saw a young girl observing the long games of the adult and coming face to face with oldest man, essentially boding all of male perversion, and then we start to get contradictions to the above, where or not you can run away and have everything at once before. We then saw the complete antithesis in the Green Ray, with a theme coming to love herself. And finally, as I don't pointed out earlier, in my girlfriend's boyfriend, the characters realizing that what they're actually loving was an image, resolving all of this and actually ending up finding love, and in such a way, even though there's so many contradictions throughout each film, essentially see roamers solved the contradiction of love and to show that to find that you have to love yourself, not chase after images, and at that point you can actually open yourself up to finding someone who can get them in, they love and be with. Yeah, how uniquely contemporary settings are and how he circles around this large shows of characters with all these different problems that are really perhaps in lot of ways quite similar, and the film's offer a reflection of all of these characters and their preoccupation with other things. It also express, especially in this last film, not an idea of what is romantical love, whereas exist in the modern world. And of course it constantly seems to ask this question, do I have the right partner again, especially in the last film also, perhaps it's asked the question, or the portrays rather, all the selfdeception that it's involved in this quest a lot. I think it's also really interesting that role with induction. Know if this was the final film or not. We could have got more from this series, but I think that experience of making the Green Ray really made Roman interested in going other places and that the only reason, in some ways made my Goh boyfriend was because this was the one film he, interestingly enough, knew you wanted to play in this series from the beginning. Like many of the earlier films, this was a script gety long ago, which I suppose means that he also saved it knowing that it would fit so perfectly here. But if he had made more, what could we actually have seen? How would the story have a walled? Yeah, maybe it, just as you said that he definitely wants to make this quite funny to know that my girlfriend's boyfriend actually ended up being together with full moon in Paris. It's the most successful film in the cycle and it's easy to see why, simply because of such an assessable and romantic film. I think another thing that goes very much through the entire series is interest in urban planning and notern lives places where they live. They seem to emit. Some the sounds harsh, but almost some sense of dread. There seems to be some kind of flight, some kind of escape to a simpler way of life. Just to conclude, yeah, it's interesting to know that homel didn't do this film would be the last from the cycle and the I think it's an interesting exercise to take the other films obvious filmography, to see if they could fit in this cycle, where they would and, if they did, the proverb homail would have come up with, because homous films are always very similar while being very different from an album, which is a part of his genius. So yeah, it would have been interesting to see or what kind of other filmily you could have made and it would have been great to discuss them here. Yeah,...

I just want to say I'm really glad we have the podcast and that that made me watch the films. I think I got different appreciation from watching them a second time and from hearing everyone else's opinion on the film's actually makes me want to watch them again having heard all the observations. Also, thanks again to press, the hosting nation. Or the editing is done and looking forward to coming back on in a couple weeks. Maybe sparks will be on as well. Talk about shut up the forum. So thanks, guys. It's been absolutely wonderful. The goal through this film and to discuss the leading of this podcast and to see all of these tiny details, the most interesting of which being these trains, without almost obsessed about now this, seeing how we use strains differently in each and every film, and this, to close this off, I think that if he ever had made a final film, what would have been interesting would have been to see someone go into a train station, get the ticket, go on the train, take that train journey and get off at their final destination. That would be the only way to really book and all of this. But all that aside, I think my girlfriend's boyfriend is an incredible finale. And what so interesting is that you all pointed out how light it was and how it became searching hit on its own. And if you simply see this film it would probably feel like a very light fare from Romer. But because it is the final film in this series and because this resolution to everything we have seen, it just becomes so, so much more powerful. So if you're listening to this and you know haven't seen the films or haven't seen them in a while, of this like to say, please watch them in chronological order and see how they play with each other, because that way you truly get so much more out of them. Thank you for listening and you wince again soon. You have been listening to talking images, the official PODCAST OF ICM FORUMCOM.

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