The director of twenty-five films, including My Night at Maud's (1969), which was nominated for a Best Picture Academy Award, and the editor in chief of Cahiers du cinéma from 1957 to 1963, Éric Rohmer set the terms by which people watched, made, and thought about cinema for decades. Such brilliance does not develop in a vacuum, and Rohmer cultivated a fascinating network of friends, colleagues, and industry contacts that kept his outlook sharp and propelled his work forward. Despite his privacy, he cared deeply about politics, religion, culture, and fostering a public appreciation of the medium he loved. This exhaustive biography uses personal archives and interviews to enrich our knowledge of Rohmer's public achievements and lesser known interests and relations. The filmmaker kept in close communication with his contemporaries and competitors: François Truffaut, Jean-Luc Godard, Claude Chabrol, and Jacques Rivette. He held a paradoxical fascination with royalist politics, the fate of the environment, Catholicism, classical music, and the French nightclub scene, and his films were regularly featured at New York and Los Angeles film festivals. Despite an austere approach to life, Rohmer had a voracious appetite for art, culture, and intellectual debate captured vividly in this definitive volume.

The 1969 film Ma Nuit chez Maud catapulted its shy academic film director Eric Rohmer (1920-2010) into the limelight, selling over a million tickets in France and earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of films examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer was almost fifty years old when Maud was released and had already had a career as the editor of Cahiers du Cinéma, a position he lost in a political takeover in 1963. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, color, and narrative. Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Godard, Carné, Renoir, and Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews, such as a debate Rohmer undertakes with Women and Film concerning feminism, alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time.

A collection of essays by the film-maker and critic Eric Rohmer written between 1948-1979.

Eric Rohmer was a key figure in French New Wave cinema. Contributors to this volume revisit, complicate, and upend accepted readings and interpretations of perennial Rohmerian topics including the important role of language in his films, the influence of the arts, depictions of gender and class, and the roles played by space and place in his films.

The 1969 film Ma Nuit chez Maud catapulted its shy academic film director Eric Rohmer (1920-2010) into the limelight, selling over a million tickets in France and earning a nomination for an Academy Award. Ma Nuit chez Maud remains his most famous film, the highlight of an impressive range of films examining the sexual, romantic, and artistic mores of contemporary France, the temptations of desire, the small joys of everyday life, and sometimes, the vicissitudes of history and politics. Yet Rohmer was already forty years old when Maud was released and had already had a career as the editor of Cahiers du Cinéma, a position he lost in a political takeover in 1963. The interviews in this book offer a range of insights into the theoretical, critical, and practical circumstances of Rohmer's remarkably coherent body of films, but also allow Rohmer to act as his own critic, providing us with an array of readings concerning his interest in setting, season, color, and narrative. Alongside the application of a theoretical rigor to his own films, Rohmer's interviews also discuss directors as varied as Godard, Carné, Renoir, and Hitchcock, and the relations of film to painting, architecture, and music. This book reproduces little-known interviews, such as a debate Rohmer undertakes with Women and Film concerning feminism, alongside detailed discussions from Cahiers and Positif, many produced in English here for the first time.

Here, for the first time in English, is a comprehensive analysis of Eric Rohmer's work. Rohmer, an enormously influential figure in shaping postwar realist film theory, and later in the development of the French New Wave, has been largely ignored in film studies, while others of the New Wave movements such as Truffaut and Godard have received considerable attention. In Eric Rohmer: Realist and Moralist, Crisp thoroughly examines Rohmer's films, performing structuralist, psychoanalytical, and ideological analyses of each. He further evaluates the connections between these films and Rohmer's realist film theory. Finally, Crisp's impressive study situates Rohmer's work ideologically within the historical context of French cinema after World War II, and gives due recognition to the achievements of this director within the realms of film theory and filmmaking.