Conte de printemps

Inaugurating a new Rohmer series (Tales of the Four Seasons), this begins with an atypically wordless sequence which effectively introduces the mood of mystery and ambiguity that will recur throughout. Caught between apartments, philosophy graduate Jeanne (Teyssèdre) attends a party, where a young girl, Natasha (Darel), invites her to stay at the flat she shares with her father Igor (Quester). So far so innocent, but presently Jeanne finds herself witness to, then participating in, recriminatory scenes between daughter, father and his youthful lover Eve (Bennett): jealous Natasha detests Eve, accusing her of theft, while Igor - encouraged by Natasha? - seems more than willing to be left alone with Jeanne. As ever, Rohmer examines their hidden motives and analyses the consequences of their actions with great lucidity, repeatedly delving beneath words to uncover, through gesture and intonation, their real meaning; nobody is wholly innocent, no one completely blameless, in the web of intrigue spun between Jeanne and her hosts. Rohmer may not be breaking new ground, but who else could explore his familiar territory so fruitfully?