The Lady and the Duke 2001

影评 (90)

1. C

   comrade_yui 2026年8月26日

   couldn’t stop thinking of kiarostami’s 24 frames during this, in that rohmer is radicalizing his own style of a historical film from perceval, a series of carefully arranged chamber pieces interrupted by the most magnificent greenscreen mattes, a literalist effort to be ‘painterly’ by throwing these actors into the stillness of towns that are miraculously animated with the coming and going of human affairs, yet remain fundamentally inert, as if you treated 18th century landscape painting as a dungeon-master’s map by which performance can be projected onto, a cinema of the feuillade proscenium (the models move not just across the horizontal, but into the z-axis, into depth) and also a cinema of méliès, the archers, the stage magician who shows…

   37
2. M

   Manoj Panicker 2026年8月26日

   So just like how Perceval and Marquise of O were made to break away from the tone of his ‘Six Moral Tales’, Éric Rohmer decided to break away from the pattern of his ‘Tales of The Four Seasons’ with yet another mediocre period drama. But compared to his previous historical ventures, ‘The Lady and The Duke’ at least has a really interesting premise, exploring the last period of the French revolution as we look at the events that lead up to the reign of terror from the perspective of Grace Elliott. The fact that we’re examining the life of the Duke of Orleans from the perspective of a royalist is an interesting idea, to look at the events that still…

   25 1
3. S

   Seer 2026年8月26日

   [. . .] The poet must be very conscious of the main current, which does not at all flow invariably through the most distinguished reputations. He must be quite aware of the obvious fact that art never improves, but that the material of art is never quite the same. He must be aware that the mind of Europe—the mind of his own country—a mind which he learns in time to be much more important than his own private mind—is a mind which changes, and that this change is a development which abandons nothing en route, which does not superannuate either Shakespeare, or Homer, or the rock drawing of the Magdalenian draughtsmen. That this development, refinement perhaps, complication certainly, is not,…

   16 3
4. L

   Luke McCarthy 2026年8月26日

   Tells the story of the French Revolution from the losing side, simultaneously exploring the illogical nature of royalist loyalty whilst making uprising itself something more chaotic and less empowering than a traditional hero narrative would allow for. The film is built around current political conversation, the knowledge of impending change (brought in by us as an audience) shading every scene with an intangible sense of inevitability. Rohmer’s formal approach mirrors this dialectic between past and present, every single exterior shot rendered in gorgeously composed tableaux, the actors moving within these static backgrounds (each one hand-painted and then superimposed behind them) like abstract figures of life intruding on a classical painting. These expressionistic images are contrasted with the gorgeously designed interiors,…

   47
5. A

   Avalyn Wu 2026年8月26日

   An aristocratic woman, out of her own stubbornness and false sense of bravery, is shocked the flat backdrops she looks upon from afar are capable of biting back. Her weeping and wailing only become more and more contemptible. The world outside is indeed far different from the one she imagines in her drawing room. Seen at Museum of the Moving Image in New York City in 35mm

   18
6. J

   João Queiroz 2026年8月26日

   ER: I had shot two period films before: The Marquise of O (1975) in real locations and Perceval le Gallois (1978) entirely in the studio. I knew that neither of these methods would give an authentic portrayal of Paris. So I had the idea of inserting real-life characters into scenic backgrounds that I would have specially painted, based on the layout of the city at that time. Inserting characters into sets is one of the oldest tricks in the filmmaker’s book. Méliès was probably the first to do it. (…) ER: I didn’t make this film for any political reasons. I don’t use it to defend any party, royalist or anti-royalist. On the other hand, I would like to help…

   17
7. A

   Avalyn Wu 2026年8月26日

   My gut instinct is to dismiss this outright, but I am admittedly compelled by the film’s use of modern technology in the service of recreating an anachronistic worldview, as though the possibilities of the future are the only pathway to the dead ends of the past. It’s a contradiction that poses a worthwhile challenge to the notion of cinema as an art of the present. These actors and their performances remain singular instances of a recorded present, yet the blue-screen backdrops are artificial tableaus, approximations of a society that these aristocrats increasingly see themselves as alien from. This split registers in the insular and inert nature of the drama, so removed from any broader sense of what is going on…

   23
8. A

   Adriana Scarpin 2026年8月26日

   A Inglesa e o Duque estreava há 20 anos no Festival de Toronto. Todo mundo sabe que o Rohmer era reacinha, mas fazer um filme sob o ponto de vista da nobreza coitadinha é o fim da picada, tinham mais de cortar a cabeça desses filhos da puta mesmo. Por outro lado, tecnicamente esse filme é um desbunde, filmado digitalmente, com vasto uso de chroma key que deixou o filme parecendo quadros em movimento do período da Revolução Francesa, a gente acaba perdoando reacionarismo por conta da beleza como o faz. DVDRip no MakingOff.

   17
9. J

   Jake Cole 2026年8月26日

   Who on Earth would have guessed that Éric Rohmer would have been at the vanguard of digital’s possibilities in the early millennium? In blending painting (themselves based on engravings and pictures) and live action and using wild oscillations of color and texture that blur the lines between the two, Rohmer makes plain and literal the extent to which he was always something of a cinematic painter. This method also takes to an extreme an idea developed in other period Rohmer, that of fealty to a given historical era or source text will only heighten the dissonances that will inevitably creep in from the modern world. Rohmer, himself a revanchist, is perhaps not merely being faithful to Elliott’s own monarchist views…

   53
10. B

    Bruno Andrade 2026年8月26日

    (…) Este filme, de uma originalidade extraordinária, demonstrou duas coisas. A primeira é que Rohmer é até o fim um cineasta inovador, capaz das mais audaciosas experimentações formais. A segunda é que ele era não apenas um homem fundamentalmente de direita, o que nós sabemos há sessenta anos, mas também um monarquista fervoroso. Deste modo, e eu estou pessoalmente convencido disso, a vanguarda artística e a tradição podem andar juntas e inclusive o fazem mesmo com frequência. – Michel Marmin (…) Há um personagem nos Wilhelm Meisters Lehrjahre de Goethe que diz: “Bem, você pode dizer o que quiser de mim, mas ninguém há de negar que sou um contemporâneo.” Não vejo diferença entre esse personagem um tanto absurdo do…

    65
11. A

    Audrey 2026年8月26日

    like the speed racer of costume dramas. one of the best looking movies ever made, i have no idea how he did it. that said, the drama is a little dry and trite for me and it’s incredibly funny to be anti-french revolution in 2001

    16
12. E

    Ethan Vestby 2026年8月26日

    I can’t tell if this is vaporwave or not…

    19
13. M

    Marcin Zzzzz 2026年6月16日

    The universe spoke to me! I got back to my family home today. In the evening, I started wondering what to watch and then had a thought that it’s about time to catch up with the work of Eric Rohmer. While I was about to get my laptop, my mom entered the room and turned the TV on. She picked a random channel (or did she?!) and there was a film just starting. What was it? A film by Eric…

    1
14. L

    Louis Thill 2026年6月14日

    Boring and French Damn, pick a struggle

    1
15. H

    Harrison Wade 2026年6月4日

    “By losing the fear of death, I saved myself, and you as well.”

    3
16. A

    Antonio Anatolio Fernández Murillo 2026年6月4日

    I don’t want to study cinema anymore, I miss wanting to watch movies, This movie sucks I rather watch minions 7 color saturated and in slowmo than this terrible thing Pd: my film study discovery has been that enjoy more doing comedy than cinema, that’s good too, I love you Mel Brooks

    1
17. M

    MoustacheMan 2026年6月3日

    Sans méchanceté aucune, à qui s’adresse ce film ???

    4 3
18. R

    Robin Doux 2026年6月3日

    Secret de polichinelle, Rohmer était de droite (voire un bon royaliste), donc le voir abordé la question de La Révolution française, via le point de vue d’une anglaise aristocrate resté loyale à la royauté, n’est pas une grande surprise. Oui, ce n’est pas le point de vue commun, et en se basant sur ses mémoires, Rohmer construit un peu une aventure à coups de faux-semblants, de mensonges, limite de double-jeu. Mais le résultat est à l’image de son procédé, très…

19. C

    Christian Molenaar 2026年5月23日

    Really impossibly strange. The closest analogue elsewhere in Rohmer is Perceval, his only other period piece to find him in a purely pictorialist mode — not to discount La Marquise d’O or any of the unspeakably gorgeous beachside vistas captured by Néstor Almendros, but this is decidedly something different! An EXTREMELY odd movie that I can’t help but love, situating actors inside of paintings as if they were theatrical sets and periodically punctuated by moments of violence which manage to…

    4
20. T

    Tamarin 2026年5月7日

    Si bonne idée sur le papier, mais pour les années 2000 c’est une cata supplément c’est trop long, rien que ça parle, on souffle.

21. R

    rodrigo 2026年4月27日

    O filme me surpreendeu por vários motivos. O primeiro é que Rohmer, até os últimos momentos de sua vida e carreira, manteve-se um cineasta disposto a experimentar e a tentar algo novo, sem abrir mão de explorar o digital. O segundo é justamente o uso dessa tecnologia, que considero um dos mais rigorosos e belos já feitos. O filme a utiliza para emular pinturas em cada enquadramento; em muitos momentos, temos a impressão de estar diante de um quadro em…

    1
22. H

    Huguesperrot 2026年4月25日

    Francois-Marie Banier en Robespierre c’est probablement ce qu’il y a de plus incongru dans le film. Ou peut-être pas, selon la lecture qu’on peut avoir de l’affaire Bettencourt. Lucy Russell très juste et forte dans le film.

23. D

    DennisAE 2026年4月24日

    It took me almost two decades after seeing my first Rohmer film to find out he hid his possible greatest achievement in digital technology and The Terror. Verbal tangos and violence. This could be a new all-timer for me. Extraordinary.

    3
24. F

    Francesco 2026年4月23日

    So theatrical, so well-played with the scenography but, as the same for Russian Ark, I love to be on the ‘villain’ side of the history here told

    2
25. D

    DanCar 2026年4月22日

    Having studied realist cinema for my dissertation and by default how filmmakers approach the inherent artifice with the medium, I’m not convinced that the use of green-screen with (the 1790s’ equivalent of) photorealist paintings on a 1990s/2000s digital camera works in this film. I found it too incongruous with the interior scenes and the clashing distracted me for the first quarter of the film. That being said, once you get past the jarring aesthetics, the narrative work is superb. The…

    2
26. T

    the_ditto 2026年4月12日

    [Cycle Jane Austen Forever au forum des images] Je respecte le geste artistique, mais c’est quand même pas très réussi. Et puis les aristocrates c’est à la lanterne !

27. F

    Fran Kursztejn 2026年4月6日

    eric was def playing grandia in the editing room

    1
28. F

    Frank Yan 2026年4月5日

    I really don’t see why this style of “moving painting” hasn’t been replicated ever since

    2
29. A

    Andrew 2026年4月5日

    Watched on 35mm. A new kind of matte painting for a new kind of governance. Rohmer’s humanism is of a troubled sort – he sincerely looks everyone in the eyes as they march up to the guillotine, but they’re not the people he wants to get to know properly. Robespierre gets a “respect the hustle” depiction.

    4
30. Y

    Yazeed 2026年4月5日

    Visually and formally, this film is really miraculous. I appreciate Rohmer’s use of the hyper-staged design that goes a step further than his set production in Perceval. That being said, this is a crazy piece of old crank pro-monarchy art. Which is unbelievably hilarious in way only Rohmer could unintentional be! Genuinely a strange mix of progress and conservatism that feels very true to Rohmer’s sensibilities

31. T

    Tyler Plunkett 2026年4月5日

    While this is not *not* a Royalist pity party, Rohmer is one of the only artists willing to enter into history and probe the complications and contradictions of the French Revolution as it may have appeared at the ground level, rather than gaze from atop a 200+ year old mountain to issue pronouncements that are easy to make from that distance. I remain slightly less enamored of his history films than his contemporary dramas, but the possibilities they bear of accessing the past more concretely—ironically through artifice—always leave me exhilarated.

    1
32. M

    matthew l. 2026年4月5日

    The venom one can hear behind the honorific “Citoyen”

    2
33. G

    gandre 2026年4月2日

    .

34. H

    heider28 2026年4月1日

    Somehow managed to make me even more pro-guillotine. The stage play vibe was cool, though.

35. O

    orangeclock11 2026年3月24日

    法兰西第一仁义。

36. D

    danieleone 2026年3月22日

    L’histoire se déroule dans un décor composé de véritables toiles qui peignent la ville de Paris au XVIII siècle: il s’agit d’un moyen au même temps fonctionnel pour épargner de l’argent et plaisant à l’œil. Cette fois la narration n’ennuie pas et se plonge dans le conflit verbal et physique entre les royalistes et les révolutionnaires: est-il nécessaire d’exercer de la violence pour améliorer le futur de nos fils? La partie la plus traînante est celle de la fuite dans la nuit de l’anglaise avec le noble français où tout semble évoquer l’ambiance du noir.

    1
37. S

    Sumner Forbes 2026年3月17日

    I guess there was some pushback against this from the French left because it supposedly pro-Aristocrat. I mean, why were they surprised? Rohmer was always a traditionalist and I’m honestly amazed him and Godard never came to fisticuffs when it came to politics.

    2
38. A

    Alfonso G. Cañadas 2026年3月4日

    En su primera mitad uno se siente embriagado por la originalidad de su peculiar estética. Sin embargo, transcurrida la primera hora, su ritmo lento y su plana narrativa acaban transformando el visionado en soporífero. Es una película sorprendente dentro de la filmografía de Rohmer, lo cual no tiene por qué suponer algo positivo.

39. A

    Aralia 2026年2月26日

    Simply stunning and plump

40. T

    Tom D 2026年2月15日

    An experiment from usually super straight forward filmmaker Eric Rohmer. For his film set during the French Revolution, Rohmer filmed the actors against green screen and matted them into drawings. The interiors are actors in front of obviously painted backdrops. From a memoir written by Grace Elliott, a Scot who lived in Paris during the revolution.

41. C

    cassio17 2026年2月11日

    C’est particulier, le jeu d’acteur et les décors sont assez atypiques ce qui ne m’a pas trop aidé à rentrer dans le film. Il y a pas mal de longueurs, même si le film reste agréable et les dialogues particulièrement appréciables.

42. G

    Giuseppe 2026年2月10日

    Molto teatrale. Recitato. Ma altresì interessante la scelta di far rivivere dei quadri come ambientazione per gli esterni. Strano ma molto bello. La storia è interessante. Una contro-narrazione degli avvenimenti della rivoluzione francese. La rivoluzione vista da una aristocratica. Molto bello vedere un punto di vista diverso da quello solitamente portato.

43. G

    Gianlo90 2026年2月9日

    Reading all the reviews for this film, it seems that public opinion is split between those praising Rohmer as a kind of prophet at the dawn of digital cinema, and others defining it as one of the worst films ever made. The truth is obviously the latter. Of course, everyone is entitled to their own taste, but frankly, how can one defend a film whose visuals already felt outdated at the time of its release, and whose political agenda is…

44. T

    theo1234 2026年2月5日

    Engaging painting backdrop/as setting Questionably engaging when it came to caring

    2
45. R

    robin 2026年2月5日

    I ain’t reading all that I’m happy for you though or sorry that happened. Overall i just couldn’t really care about her cause! Who cares! I like the painting aspect though

    1
46. F

    fin main 2026年2月5日

    Despite knowing beforehand that Rohmer, with his conservative views, would likely portray this period of the revolution in a negative light, I was disappointed by how narrow an approach he took. The sans-colottes are simply portrayed as disgusting savages and there is no sympathy or understanding whatsoever given to the Jacobin cause, which I think is pretty unfair given the material circumstances at the time. Although I found this frustrating throughout the film, the use of the painted backdrops was such a unique idea and ended up looking really stunning and that’s enough to merit a decent rating lol.

47. C

    ChadwickKRool 2026年2月5日

    It was aight

48. N

    neharika 2026年2月5日

    interesting, and just the slightest bit surreal. It was visually somewhat offputting. the color grading made me feel like this was a made for tv movie. I did like the painted backgrounds, I feel like that was the main attractor for this film and it did add a dimension of je ne sais quoi that gave the film some character. I did find the conflicting ideas and voices of the Revolution being personified through the relationship conflicts observed between the…

49. C

    Cinemattthieu 2026年1月23日

    La Terreur des années 1790 du point de vue d’une artisocrate anglaise trop choupi qui transformerait le plus teigneux des sans-culotte en un fervent royaliste tout propre 🤗

    1
50. M

    margaux 2026年1月22日

    Grace et le Duc be like “we’re lifelong queer platonic monogamous best friends that are perceived as romantic-style partners by the revolutionaries”

51. Y

    Yamani_ 2026年1月21日

    La particularité 1ere du film, c’est son style visuel, avec l’utilisation de fonds verts pour le paysage parisien de l’époque, et je trouve non seulement que ça donne une vraie patte au film, mais ça permet aussi d’être plus immergé dans cette époque qui a été maintes et maintes fois représentée au cinéma. On a vraiment l’impression d’être projeté dans des tableaux vivants, un peu comme Loving Vincent, toutes proportions gardées bien sûr. Par contre le propos pro royaliste lache ça tonton

52. H

    hanaedunoyer 2026年1月16日

    Je lis les commentaires d’autres personnes sur ce film en me demandant, avec autant de sincérité qu’il manque a Grace Elliot de nuance, si nous avons tous regardé le même film. Parce que, effectivement, “original” et “captivant” ne sont pas, pour moi, une association évidente, ou même possible, avec cet anti-chef-d’oeuvre. Si mon avis vous intéresse, allez voir le commentaire masterclass de @tinaaistall. 10/10. Si vous êtes un fan de Rohmer, vous serez aussi un fan de Alain Guicheneuy. Très peu pour moi, avec tout le respect pour la légende vivante qui choisit décidément horriblement mal ses go-to films.

    4
53. C

    cassiebb 2026年1月14日

    Bon déjà à partir du moment où il faut fouiller tout internet pour trouver ce film ça annonce la couleur. Dans l’absolu c’est une idée super originale de vouloir tourner un film comme si c’était dans un tableau (A la Barry Lyndon version cheap) mais je comprends pas à quel moment Rohmer a pensé que c’était une bonne idée de laisser l’image floue quoi c’est à peine si je reconnaissais les personnages après 1h30 dans le film. On est en…

    3
54. A

    Austin B 2026年1月14日

    Quite boring. Bold move to attempt a sympathetic portrayal of French royalty in a movie set during the French Revolution. The dated digital look certainly adds charm, especially on the thrifted DVD I was able to find, but this was certainly disappointing. Despite this stumble, I think 2026 might be the year I get into Rohmer, at least to wash the taste out of my mouth.

55. T

    tinaaistall 2026年1月14日

    bon, on repart pour un nouveau rant? plus jamais les films de hlp. c la deuxième fois que je fais confiance à guicheneuy et la deuxième que c vrm pas ça lol. fool me once, shame on you, fool me twice, shame on me. déjà c dingue de faire un film anti-révolution en 2001. c tlm mal fait, introuvable, le scénario est médiocre au mieux, la production value is in hell, il y a aucune reflexion faite dans la manière…

    5
56. R

    raquette01 2026年1月14日

    Tout est presque parfait dans ce film de Rohmer avec ses effets spéciaux un peu surannés mais quand même magnifiques.

57. R

    Romain Destree 2026年1月11日

    Une vraie purge ce film. C’est laid, mou et politiquement douteux.

    1
58. D

    Davi Ribeiro 2026年1月10日

    Vou começar com esse trecho do “Le celluloïd et le marbre: II – Le siècle des Peintres” escrito por Eric Rohmer. Estou fazendo uso da versão traduzida por Miguel Fernandes: Dizem-nos sempre que o cinema é uma arte apesar de ter um modo de reprodução mecânico. Eu diria o contrário: o poder de reproduzir com exatidão, brutalmente, é o maior privilégio do cinema. ‘Mas’, dirão, ‘então como o criador intervirá? Onde está sua liberdade?’ Sua liberdade? Em tudo; ela é…

    3
59. S

    Simón Restrepo 2026年1月3日

    2 horas de incertidumbre tremendamente vívidas, Rohmer supo mirar de manera bastante particular dentro de la revolución francesa, la acción no está en Versalles, ni tampoco en las calles, está en salones de lujosas casonas donde se especula y se duda sentado cerca a la chimenea sobre el presente y el futuro, sobre la muerte, la lealtad y donde se lamenta por las decisiones que no tienen vuelta atrás.

    1
60. A

    Avalyn Wu 2025年12月29日

    My gut instinct is to dismiss this outright, but I am admittedly compelled by the film’s use of modern technology in the service of recreating an anachronistic worldview, as though the possibilities of the future are the only pathway to the dead ends of the past. It’s a contradiction that poses a worthwhile challenge to the notion of cinema as an art of the present. These actors and their performances remain singular instances of a recorded present, yet the blue-screen…

    23
61. V

    valerelagalere 2025年12月21日

    Le film tourné au camescope et monté sur movie maker

    1
62. C

    chlo_frka 2025年12月20日

    L’utilisation des fonds verts à mis vieilli certes mais c’était banger pour l’époque

    1
63. L

    luplaysbass 2025年12月20日

    vista en frances en un cine antiguo de nantes con la ines la clara y la violeta a 3 euros a las 9 de la noche porque aparentemente no teniamos nada mejor que hacer el cine era precioso la peli no tanto (no entendi ni una misera palabra)

64. U

    Ulysse Monrocq-Marianne 2025年12月19日

    Comment Rohmer, à 80 piges, a décidé qu’il allait innover dans la technologie numérique en proposant une sorte de restitution cinématographique des arts classiques, évidemment la peinture, et de façon plus sous-jacente le théâtre et la littérature. La progression dramaturgique est celle d’un roman. Un accès soudain à l’intériorité des personnages qui, plutôt qu’une voix off, verbalise dans le dialogue leurs impressions profondes. Ça crée une sorte d’objet hybride, un peu foutraque, un peu vieilli, mais un genre d’initiative qu’on aimerait voir plus souvent. Et puis alors le propos passéiste… C’est le meilleur film de droite que j’aie vu de ma vie.

    1
65. I

    ines 2025年12月19日

    vista de nuevo en versión original en un cine francés, me enteré más que la otra vez, suficiente para saber que era algo malilla

66. P

    Pokpiv 2025年12月19日

    Los escenarios irrisorios y la trama bastante simplona pero lo he visto en un cine de francia sin entender ni papa de frances asi que no me tengais muy en cuenta

67. L

    LeGautt 2025年12月17日

    Assez étonnants les incrustations fond vert sur des toiles peintes, ça marche très bien pour imaginer le Paris d’époque (au moment de la Révolution).

    1
68. C

    carismaistitou 2025年12月16日

    Not a good way to reach movie number 800 of this year! This for some reason made me feel out of breath, something is really off about every interior scenes! Most of the outside scenes looked like cheap use of green screen… The pacing is as boring as hmm as you if you like this film! It felt like a stage play that went for too long and also felt like its made by the a guy who never before…

    4
69. J

    julieelgt 2025年12月15日

    Non franchement pas fou

    1
70. M

    MToumi 2025年12月7日

    Encore un film de Rohmer et encore vu au cinéma, (mais cette fois un bel apres-midi pluvieux Alsacien au Cosmos ) – J’étais accompagné d’une non anglaise et le Duc c’étiat moi. Deja si on connait pas/plus l’histoire autour de la Révolution francaise, ainsi que la poliltique et complicaitons qui s’ensuivent, c’est un peu plus dur d’apprécier le film. Toutefois, si on a au moins les bases, on peut tres bien apprécier ce film, ainsi que les costumes historiques, les…

    1
71. P

    palimpsests 2025年11月30日

    The paintings make this film look both insane and gorgeous, but in any case supremely interesting visually.

72. L

    Le_Rayon_Vert 2025年11月29日

    𝐋’𝐀𝐧𝐠𝐥𝐚𝐢𝐬𝐞 𝐞𝐭 𝐥𝐞 𝐃𝐮𝐜 d’Eric Rohmer est un grand film en trompe-l’œil, révolutionnaire en étant contre la Révolution – tout contre. Un grand film sur le regard qui cultive l’intelligence et la sensibilité de nous convier à une disputatio intérieure, passionnante et passionnée, sur la puissance de dissensus qu’un événement aussi radical que la Révolution française peut encore susciter. Lire notre analyse du film : http://www.rayonvertcinema.org/l-anglaise-et-le-duc-eric-rohmer/

    1
73. C

    Chiara ☆ 2025年11月25日

    Bizarrement j’ai été vraiment prise par l’histoire J’aime bien l’effet tableau et en même temps film qu’on montre à une classe de collégiens qui ont pas envie d’être là

    1
74. M

    mondestrunken 2025年11月25日

    That the protagonist of a Rohmer film alone makes it difficult to endure is no isolated fact, but none had yet elicited such visceral annoyance than Grace Elliott did. In a work of such explicit formal experimentation, I find it hard not to bemoan that the eerie quality of the Betacam’s painterly textures and great depth of field complimenting the efforts to depict wide exteriors with the visual medium of the times reinvested here sees itself become but a peripheral…

75. C

    Champari 2025年11月25日

    Pétard quand je vais voir Laurent Schérer pour lui dire “mais quand même votre daron c’était un sacré gros droitard nan parce que…” comment il va me regarder zehef

76. M

    MalouBZ 2025年11月24日

    Une fresque (surprenamment) captivante de la Révolution à travers les yeux d’une femme / étrangère / noble libérale, c’est-à-dire un point de vue original. L’innovation stylistique a de quoi effrayer au début, mais une fois dans le film, on se surprend à l’apprécier.

77. Z

    Zacha Lima 2025年11月23日

    Eric Rohmer usa o olhar estrangeiro de uma aristocrata para tratar sobre o terror e a paranoia que tomaram conta do cerne da Revolução Francesa. Discussões políticas à parte, é um filme de mise-en-scène poderosa e requintada, conjuga o clássico em um tom moderno, consagra imagem e palavra, faz do realismo uma forma potente de fantasia. É uma estética que impressiona pela veracidade do artifício. Um filme que exige muita bagagem para realizá-lo.

78. K

    Keren Salmeron 2025年11月19日

    Ça ira?

79. A

    aial321 2025年11月18日

    Jolis tableaux

    3
80. R

    Rocket Von Habsburg-Lothringen 2025年11月18日

    Magnifiques costumes et coiffures dans la tourmente révolutionnaire

81. H

    Harran_ 2025年11月18日

    Il y a littéralement Han Solo parmis les juges du comité de surveillance de Robespierre. Très complexe de faire tenir le public avec un tel rythme et une telle forme. Rohmer laisse tellement de temps aux personnages pour s’exprimer, et surtout lady Elliott. De grands dialogues et de grands monologues royalistes qui confrontent ceux d’un jacobin, par n’importe lequel, un très proche ami qui n’est d’autres que le Duc d’Orléans. La problématique vient de là, Grace ne fais qu’avertir ce…

    1
82. .

    . 2025年11月18日

    les sans culottes au final

    3
83. L

    Lucas0208 2025年11月17日

    Louis XVI étant mon Roi de France préféré et la Révolution Française étant une période passionnante, j’avais depuis longtemps envie de voir ce film qui n’a quasiment jamais été rediffusé à la télévision, et indisponible en ligne. Profitant d’une restauration de 2025 de la pellicule et de sa diffusion au Cinéma Reflets Medicis (3 Rue Champollion, Paris) – où je n’étais jamais allé -, j’ai enfin pu voir L’ANGLAISE ET LE DUC. Basé sur les mémoires de l’aristocrate britannique Grace…

84. C

    Cristhian Flores 2025年11月16日

    Entre que se me escapan los pormenores de la revolución francesa, y que la vi sin subtítulos, siento que tengo que volver a verla para terminar de entenderla. Completamente única la forma que encuentra Rohmer para fraguar una reconstrucción fiel (a su credo artístico) de toda una ciudad; y absolutamente estimulante la pregunta por la cantidad de pueblos que se pasa todo levantamiento que en nombre de los más altos valores es capaz de acusar de traición y de juzgar…

85. T

    Thomas Fischer 2025年11月16日

    C’était pas incroyable mais en même temps j’ai adoré??

86. _

    _tin_tin 2025年11月16日

    Fait chier elle a pas crevé la connasse

    2
87. Y

    Youcef 2025年11月16日

    Vu au cinéma avec la restauration de 2025. Intéressant à voir pour la technique et les arrière-plans qui sont peints. Si seulement on pouvait revivre une période de terreur pour la classe bourgeoise

88. L

    LoveYourz 2025年10月27日

    嗯嗯油画很有趣，但对这种真的接受无能，完全无法进入。

89. W

    willow 2025年9月15日

    I honestly have zero clue how I feel about this movie. I did not like the editing or the style, but I appreciated the film’s detailed cultural elements. #AgeofComfort because each room in the house has a specific purpose and people sit on the same furniture regardless of rank.

90. T

    TheAlterEgo 2025年3月5日

    If you hoot with the owls at night, you can’t soar with the eagles at dawn.