Rendez-vous in Paris (1995)

Rendez-vous in Paris (1995). 1h 38m

“What is love? and can you explain it. Using three meetings at different locations , Rohmer creates a parable on the intricate and surprising nature of love. The first story about a rendezvous at seven is the best. Insidious in its nature, it plants the seeds of doubt that blossom into the tale of two women and two men, each seeking and expecting divergent results. Filled with coincidences, all three tales are, it presents the surprises we donu0026#39;t see coming.u003cbr/u003eu003cbr/u003eThe second story which is kind of dull or more demanding depending on taste, follows a couple meeting up in many public locations. The female character is afraid to meet in private despite the urgings of her male lover and when she does make the leap, the consequences will forever change the relationship.u003cbr/u003eu003cbr/u003eThe goat of the pack is the final vignette, a story titled after a Picasso painting that features prominently in story. Again the obvious is pushed aside for the unexpected and there is a certain breezy, plush ending to the proceedings that seems to jar with what has become.u003cbr/u003eu003cbr/u003eA comedy in three parts, there is a chorus group that is interspersed and opens each story. Cherubic in nature, the songs present certain adages on the nature of love and life.u003cbr/u003eu003cbr/u003eA mixture of his moral tales with his comedies and proverb series, it is the lesser of each but sub-par Rohmer is still superior to most filmmakers. His low frills style of film making which a previous reviewer called cheap tells him how little he knows about the edict of the French New wave, the only die-hard adherent remained Rohmer, his rules, a quantifier closer to the Dogmau0026#39;95 tradition of cinema. It is cinema of the heart at its finest.”