Chloe in the Afternoon
d. Eric Rohmer, 1972
As charming as anything I've seen by Rohmer, if not as achingly beautiful as My Night at Maud's (1969). Chloe in the Afternoon contains all of the major characteristics of Rohmer's Moral Tales, including the genuinely insecure male character surrounded by intelligent verbose people, a quiet discomfort which watches over the film, and, perhaps most impressively, Nestor Almendros' photography. Both in its episodic structure and the way its lead character dodges infidelity, Chloe in the Afternoon is very much like a less feverish, more straightforward version of Kubrick's Eyes Wide Shut (1999).
