Ma Nuit Chez Maud (My Night At Maud's)

1929 black and white work from one of the last French new wave directors, the celebrated Eric Rohmer. This is the third of his series of six 'Moral Tales'. It is a genuinely intelligent, well shot film.
It goes in between periods with no dialogue at all, and some of the talkiest moments in cinema, where the script drives everything (what Rohmer is perhaps most known for). Let us deal with these two aspects seperately.
The dialogue; this is a genuinely intelligent film, one that the viewer can meet on equal terms and engage with. We know we have an intellect able to challenge and consider, a refreshing change. The complexities of the script are of course difficult to digest all in one, opening up opportunities for rewatching.
Of course part of this intelligence is how the script interacts with the looks, the acting, with the choice of editing in the montage.
Rohmer has a camera that we like very much. Though we do follow the lead we do so with a small amount of reticence, a camera that lingers on images for a little longer than usual. We especially enjoyed his technique of staying on only one half of the couple talking, which he uses at times. This style (also used by Kiarostami) gives the actors a chance to act, and really imporves characterisation, adding the abovementioned intelligence to the script. It is as though all are being lightly interrogated.
The sharp black and white lines lead to some nice (not spectacular, but with interest) images. The greys and blank surfaces, combined with the understated aesthetic choices of actor and mis-en-scene, conjure up an almost Bressonian atmosphere to the film, always a plus.
This is an intelligent, perceptive, and at times subtle meditation on a number of well thought out themes. It is shot in a fine manner, with respect for the image and the characters. This is are first experience of Rohmer, and we very much look forward to seeing his other films. A fine piece of work.