The name of Rohmer's "Girlfriend's Boyfriend" is somewhat intriguing, and it is one of the director's "Comedy and Proverbs" series. The story takes place in a satellite city on the outskirts of Paris, and the intricate relationship between two pairs of young people in a young community. Blanche is somewhat self-pity for not being socially well-connected; Léa is involuntarily capricious, teasing her poor boyfriend; Fabien is always jealous of other men's success; Alexandre is a social star in the community, but never takes the initiative to chase people. The people in the play have such and such shortcomings, but they always exude credibility and authenticity. The audience watched the movement of the people in the play step by step, although it was those little love and love, constantly wandering, and even on the verge of collapse. In the narrative of the story, Rohmer's understanding of love, his humor and frankness are all revealed.
The community in the film is somewhat metaphorical. One afternoon Blanche and Fabien were each wandering around the neighborhood's commercial strip, bumping into each other a few times, and then they started gossiping. This is an opportunity created by Rohmer, a kind of ambiguity that neither of them are willing to admit, but it is definitely indispensable. Blanche's apartment is neat, clean and bright, without even curtains. Through the tall windows, the audience can see that the community outside the apartment is like a large and unreasonable square, bare and with several small lawns. The community is still growing, and Blanche is looking forward to the same for herself in the future, but she's just staying quiet and safe in her apartment.
The costumes in the film are also very interesting, the solid-colored big tops jump brightly on the protagonists, sapphire blue, grass green, bright yellow, watermelon red... The colors sometimes tell the protagonist's mood, sometimes it's just the director's pure humor feel.
Watching a Rohmer film is reminiscent of a nagging Woody Allen. Rohmer once defended his film: "Yes, my characters talk a lot and move less, but they still talk less than a Woody Allen film. I don't find my films boring, my Actors are never in a static state." Yes, this is how Rohmer made Xiaoqing Xiaoai deeply rooted in the hearts of the people.
Rohmer is the master of love philosophy in the new wave. All his original characters use spirit and flesh to talk about long or short love without any scruples. They suddenly fall into passion, and then start to calm down, withdraw, rational, repeat... ...but Rohmer gives each of his characters a soul, and he allows us to see not only their actions, but also their thoughts about their actions. Really kind characters. Although Rohmer was getting older day by day, his character was always in love, always in summer.
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