Une femme est une femme (A Woman Is a Woman)

Une femme est une femme (A Woman Is a Woman). What a wacky movie. Anna Karina wants to get pregnant. Boyfriend Jean-Claude Brialy won’t help while buddy Jean-Paul Belmondo is all too willing. Lots of rich primary colors. Hints at the musical genre every so often, and sometimes it seems operatic, with bits of dialogue like recitative punctuated with responses or embellishments from the orchestra. It’s very self-aware, playing with the form, making no attempt to stay absolutely true-to-life, sometimes literally winking at the camera. It’s all good fun. I caught several references to other films, and it’s likely there are more clever ones that I didn’t notice. This is probably my favorite of the Godard movies I’ve seen so far.

Is this a tragedy or a comedy? With women you never know.

La Boulangère de Monceau (The Bakery Girl of Monceau)

La Boulangère de Monceau (The Bakery Girl of Monceau). Another Éric Rohmer film (previously), the first of his Six Moral Tales. This is a worthy short one, only 23 minutes. The focus is an everyday occurrence: a guy sees an attractive gal on the street, doesn’t say anything, regrets it, then toys with a bakery girl as a substitute as he tries to find the first. The man’s narration is an out-loud self-analysis, full of his internal churning, hedges and rationalizations about his choices. Here’s a Criterion essay.

La Collectionneuse

La Collectionneuse. One of Éric Rohmer’s Six Moral Tales. Like Roman Holiday, this one centers on a question that doesn’t get answered until the last minute. It wasn’t as much pure fun, but I still respect a patient movie. From Phillip Lopate’s Criterion essay:

Here we see one of Rohmer’s most original tropes: the tepid attraction. It flies in the face of all cinematic convention, which dictates that the encounter of a good-­looking man and a good-looking woman must lead to grand narrative passion. […] Rohmer views the problems of indolent, potential-laden, prolonged youth in this film from the perspective of the middle-aged artist, who knows that the clock is ticking.