A Summer's Tale

Rohmer's gift of creating realistic characters and conversations strikes home with this one, giving us four characters who are very realistic, nuanced and more than a little flawed. He makes a great choice of showing us everything through Gaspard's eyes allowing for multilayered interpretation of both his and the female character's motivations. The actors help a lot in this regard, using all sorts of subtle and not so subtle body language while the camera makes you a fly on the wall to their liv

It is a testament to Rohmer’s sensitive feel for human relationships that this is such a convincing portrayal of the life of young people, even though the writer/director would have been seventy-five at the time of filming. Although some might say, “Well, we’ve all been young once”, very few septugenarians would be capable of understanding and representing youth in the way Rohmer so beautifully achieves, I think. One of his greatest movies.

As is often the case with Rohmer, a potentially compelling character study is held back by a difficulty penning compelling characters. Somewhere in here is the tale of a boy who unwittingly attracts girls just by being noncommittal, and there is clear fruition in the last act. But for most of it, Rohmer treats us to yet more of his archetypal rigid narcissists engaged in an orderly ping-pong of analytic platitudes about their relationships and general social condition. Not quite realism.

A wonderful film. Incredibly insightful, compassionate and understanding, whilst also finding the humour in the almost ludicrous holes that Gaspard quite believably gets himself trapped in. I found the friendship between him and Margot very touching, and just generally it was great to sit back and observe these characters as they talk about their emotions and how they perceive things.

Nice but too french for me

A guy in a leather fannypack spends the summer effortlessly boning 3 gorgeous women in a French resort town.

He definitely isn't shy

Team Margot

Loved it. There's a real delicacy to the handling of these relationships, none more so than the Gaspard/Margot pairing. Rohmer mines two relational elements that are often overlooked: unfulfilled desire and the inability or unwillingness to act. The former is overlooked usually because most films aren't patient . . . the second because it's so difficult to portray in an interesting fashion. Rohmer's patience creates the space for the interest to develop.

Life is made up of moments in which we want to be somewhere other than where we are and to be with someone other than who we are with. Sometimes we cannot make decisions or don't want to. This is what Rohmer explores through Gaspard. But what I am most drawn to and appreciate in this film is the way that the three female leads move their bodies, and the way their posturing is captured on film as dynamic and sensual. I could watch Amanda Langlet behave flirtatiously as Margot all day.

Great film to watch if you want to feel young again. Reminds you what it's like to fall in love.

One of my favorites by Rohmer. There are so many things I love, especially the Brittany landscape, the dialogs, the shanties and the sympathetic characters.

This is quite a laidback watch, with a philosophical edge to it. It's somewhat thoughtful and a nice, easy watch, with a real summer holiday, escapist feel to it and its a coming of age rom com - not overly laugh out loud funny as such, though there are some pieces of amusing dialogue. I liked the beach resort setting. I'd recommend this film, yes.

I tend often to have conversations like the film portrays. Embarrassing, I suppose, because often when confronted by similar 'types' people can see the parody version. I persist because doing anything else would be much the same, I imagine.

none of these girls are remotely my type, i'd be off on that boat as well.

Şimdi filmimizde 1 erkek ve 3 kadından oluşan bir aşk dörtgeni var. Bunlar ayrı ayrı çift olarak sürekli diyalog halindeler ve bu esnada mütemadiyen yürüyorlar. Ama öyle böyle yürümek değil. Ayrıca dördünün de ikili ilişkiler, aşk meşk mevzuları açısından kafası karışık. Ama öyle böyle karışık değil. Ve ilaveten hiçbiri neyi/kimi istediğini bilmiyor. Ama öyle böyle bilmemek değil. Neticede film, kötü olmasa da Rohmer'in en iyilerinden biri değil.

Really disappointed with the way characters are written and portrayed. The dialogues are iffy and forceful, there's not much of a character development for all the characters of the movie.

????????????????/What is love??/???????????????????????????????????/??????????????????????????/???????…???????????/???????????

One character accuses Gaspard of viewing all women the same, as replaceable substitutes. It's not true; he attempts to contextualize his relationships with each by his encounters with the others, but that's no easy feat. It's a testament to the nature of young love, of constantly shifting desires, to restlessness and angst, and the significance of transient relationships. The location is scenic (par for Rohmer's course), shot with a perspective that is matter-of-fact and often documentarian.

watched: 2015, 2019

"The director's gossamer touch and astute observations, plus a quartet of winning, naturalistic performances, add up to a delightful document on the dilemmas of young lurve - all courtesy of a filmmaker belying his 76 years."

Conto de Verão estreava há 25 anos na França. É bom, mas brochei totalmente no momento de "Há dias que queria ser burra e feia" Ah, Rohmer, vai tomar no olho do seu cu. Tinha que ser homem pra escrever um troço obtuso desses e colocar na boca de uma mulher. BlurayRip no MakingOff.

Very Great Movie

Might stand out as a narcissistic infatuation based on how romanticized with life the protagonist is with these versions of femininity and love Rohmer creates, but the conversations are that powerful for a youth experiencing the tragedy of love and affection I easily bought in.

Kind of unique, though eventually forgettable and boring.

Maybe this is the male version of The Green Ray and if so, it's sort of interesting that Rohmer makes his protagonist quiet and distant as opposed to constantly talking. Whatever the case, Gaspard doesn't register as closely as Delphine, but Rohmer's perceptiveness in human interaction is pretty much unmatched. Calling him the French Ozu is dubious, but he seems to be mining similar material. I sort of have a "Margot" situation right now. :/

the parental patience and care for these characters