![]() He then starts to flirt with a girl who works in a bakery, until he finds the first woman again. ![]() Rohmer follows this structure throughout his series, but for example, his first short follows a man who sees a woman in the street whom he instantly falls in love with, but he can’t find her again. Morneau, which follows a foundational structure that entails a man who is committed to a woman through a relationship or marriage but then becomes enticed by another woman, however, ultimately goes back to the first woman. Rohmer based his series on the 1927 German film, Sunrise, directed by F. This film was part of Rohmer’s Six Moral Tales, a film series he started in 1963 with the twenty-six-minute short The Bakery Girl of Monceau and effectively ended with Love in the Afternoon in 1972. Nonetheless, I’m glad I wasn’t the Chloé in this movie. One of the film’s characters is named Chloé, which was actually my name before Mina, so watching the film felt very strange, hearing “Chloé” constantly. ![]() I have never been one to condone cheating, as I mention in my essay about Agnes Varda’s film Happiness(1965), but in Eric Rohmer’s 1972 film, L’Amour l’après-midi or Love in the Afternoon, he approaches the subject of cheating more subtly, and the ending is much happier than Varda’s.
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