The best thing about Rohmer is blending, so that no matter what angle you watch Rohmer from, he can satisfy your visual pleasure (limited to literary and film lovers).
Literature lovers can find the complicated literature in his films, the référence of his philosophical works, such as Don Quixote's paintings in this film, Nietzsche in other works, Plato's ideas, Hugo's works, Baudelaire, Rimbaud's Poems...
People who care about art can easily find Picasso, Matisse, Degas, Manet in his films...
People who are sensitive to the use of color can more intuitively feel the author's intention to present color in Rohmer's films. The director himself has made special color settings and analysis for the characters in the film.
For those interested in women's psychology, Rohmer's films are the blueprints for individual psychological analysis of women.
In the end, for those who love to explore film shooting techniques, Rohmer is the one who will provide surprises in the transformation of space. In particular, the relationship between the characters' bodies and spaces in the film (landscape space, architectural space and film space) is worth pondering.
Of course there is music, light and shadow...
Because he is a French literature teacher, Rohmer's films are full of literary symbols and multi-span metaphors. What is valuable is that he brought literature into the film and at the same time gave the film its rightful place. Film is not writing, it is the expression of physical art based on reality, but Rohmer expanded the dimension of the content of the film on the basis of insisting on his own film aesthetics.
What is even more powerful is that the film is based on simple daily life. This kind of contentless perception to a certain extent may further deepen the deeper meaning of the film itself. This meaning is closely related to life and life. It deserves a deeper exploration.
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