If you cannot get right wrong, try getting wrong right, Rohmer is still ahead of time, we haven’t even touched the surface where he used to swim around.
Rohmer captures the bloated amateurity with a half grin face. Knowing that he is hitting the mark with a “get out” clause. But the writer-director, Eric Rohmer, isn’t shielding himself with uncertainty and not landing on a note, but wise enough to use that theme as a tool. The film doesn’t end up in one chain. There is another chain binding the boundary and another, it. The teacher gets to be the student and the student falls on catharsis by earning its place. I love how meta the film is. Not breaking the fourth wall, but the ingenious of the narrator. Rohmer is conscious about not only his work but where he is going with this.
He is criticizing his own career in the form of philosophy that every now and then the narrator gets lost into. What I find annoying the most is, how small he makes other writers look. How easy his writing is? Is it that simple? And if it is. Why didn’t someone else came up with it in the first place. Take a scene that comes in around the middle section of the film, where these three lead characters are regretting what they have done or are doing at that moment.
This procedure of reminiscing speaks a lot about their character. For instance the flawed host of ours is keeping all his feelings reserved oozing superiority over others that he so evidently thinks of himself. The girl, lost in the book, living the present moment, not caring about the consequences. And the hyper active so-called third wheel, who expresses his anger by annoying others. Perpetually disturbing others, making noises, Rohmer paints an image that we have all been part of, and yet never encountered in a film. La Collectionneuse is one of the early films of his that marked him on the map, grabbing attention and leaving us bewildered.