Infused with artifice, Rohmer’s remarkable adaptation of Chrétien de Troyes’ 12th-century verse poem marked a temporary radical shift in style for the filmmaker. But why? Daniel Fairfax looks for answers in the light of post-68 French film theory.
Much of Rohmer’s ‘80s and ‘90s work concerns the myriad of amorous choices his modern heroines face. Moreover, Fiona Handyside argues, they form a meta-text on the representation of love through the ages.
A discursive exploration on the philosophic significance of the figure of ‘the crying woman’ in this most radiant of films.