L'Amour en Fuie - 1979 ****

Truffaut made five films about his 'alter ego' Antoine Doinel. This was the last one. And so I'm not sure whether it would have made more sense to watch in order or not. In fact it probably would have been better, because this film incoorporates all the drama and infidelity that happened in the last 4 films, as well as shows how established the characters already are. Doinel is a strangely weak character in my opinion, and flits from one woman to the next, spinning out the same lines and acting in the same selfish way. He appears to be a man never satisfied with what he has and is always searching for something better on the other side. The lead actresses perform extremely well in comparison and I liked the little touches from '400 Blows' that Truffaut managed to slot in subtly. I will not attempt to find the other 4 movies and watch them backwards.

L'Eclisse - 1962 ***

I think ironically, I am the least impressed with "L'Eclisse" and the most impressed with "L'Aventurra" out of the trilogy of Antonioni's films. Usually each film in a trilogy (especially from someone as renowned and respected as Antonioni) has something amazing about it that helps you differentiate between it and the others, but this movie and 'La Notte' sort of merged into one and I would probably have a hard time remembering the story for each if I hadn't read the synopsis.
This last story of the trilogy was based around the deteriorating relationship between a man and a woman and includes more wandering around and more close ups and sighing from both parties. A lot of symbolism in the film I'm sure, but I just found it rather tedious.

La Carriere de Suzanne - 1963 ***

Another of Eric Rohmer's 'Moral Tales' this time revolving around a woman named Suzanne who meets two university students and, flattered by their attention towards her, begins to be used as they enjoy themselves with her money. The men are deeply unpleasant characters who think that they have some god given right to abuse Suzanne's trust and morals simply because she has something that they want. Suzanne however, has a few tricks up her sleeve.
I really enjoyed this. Not too long, not too drawn out, just right for the story matter.

Le Boulangere de Moncreau - 1963 ****1/4

A fascinating character study of a man in 1960s Paris who, after declaring his undyling love for one girl, Sylvie, he begins a meaningless flirtation with a local woman working in a Bakery. He begins to visit her everyday under the pretence of buying various pastries, and soon believes her to be interested in him. In his eyes he is angry that she thinks she might stand a chance with him, despite the fact that he has been leading her on with kind words and actions and he soon decides to show her once and for all that he doesn't like her. Very interesting little film (and really makes you crave cookies!)

Chloe in the Afternoon - 1972 ***

I'm really into Rohmer's films at the moment and am taking much delight in watching one after the other, much as I did with Claude Chabrol some years earlier. I am keen to see all his 6 'Moral Tales' - a selection of films with specific morals running through them, and so far I have seen this, and 'My Night at Maud's.' MNAT was superior by far, as although I found his next offering a delight to watch, I couldn't help being put off by the ugliness of the lead female and the disturbingly male behaviour of the lead man. The whole film seems to revolve around the typical arrogance most males seem to exude when they get married, that they are somehow 'missing out' on all the other women who they could be with. This one particular man raves on about how much he loves his wife and how he would never be unfaithful to her, but when an old flame 'Chloe' turns up they begin a weird cat and mouse game of chasing each other and then pulling back when the other becomes interested. As soon as she shows interest in him he gets a sudden attack of conscience over his lovely wife who has at this time just given birth and rushes back to her. Pathetic. A good film, but the two leads repulsed me too much with their behaviour.

My Night At Maud's - 1969 ****1/2

Strange to see two such different films from the same year (this and 'La Notte') but this was far superior to the other. My first experience of Rohmer was a happy one, and I was riveted throughout the entire movie as I experienced a potential candidate (in my eyes) for best movie of 1969. Another example of New Wave cinema from France.
A catholic man in his thirties with strict morals about fidelity and marriage bumps into an old friend on Christmas Eve who takes him back to a female friend's flat. The woman, Maud, spends the evening talking to the two men about everything from relationships to religion to politics. It then starts to snow, and the man is offered shelter at her flat until morning. With this, his morals fly out the window.
This results in a fascinating movie with some completely natural acting. I was so moved by the woman who played Maud's acting that I took in every single movement and word that she did and said with much gusto.
Another hidden gem in my eyes, a bit like 'The Soft Skin' by Francois Truffaut.

La Notte - 1969 ***

Having been so bowled over by Antonioni's first offering (L'Aventura') I figured the second in the triology would be equally fascinating. Although I think Mastroianni and Moreau are fantastic actors I couldn't quite appreciate their relationship. I was aware that they were a married couple who had both been unfaithful but they didn't appear to have any chemistry between them, even in the few tender moments where they seem like they might be getting closer together. They spent most of the film at a party wandering around individually looking unhappy. Comparing this to the first film of the trilogy left me bitterly disappointed. Such a shame after the intensity of the first one.