Three vignettes that take a look at the follies and treacheries of love, set in the city that is at once romantic, sexy, and mysterious: a young woman, who suspects her lover of cheating on her, meets and confronts him through a series of coincidences in a cafe where she has arranged an assignation with another man; while waiting for the right moment to leaver her fiance, a woman lures a young suburban professor into an illicit affair played out in the parks of Paris; a painter takes his Swedish
date to the Picasso Museum where he proceeds to fall in love with another woman.
There are bits of the three-episode Rendezvous in Paris that are, if not like watching paint dry, like watching the painter spackle the picture-hook holes and edge around the windows.
Precise, simple and deeply serious beneath their breezy and seductive surface, these stories enchantingly explore love's little treacheries and the stubborn immutability of human nature.
It's a film that stands as one of the New Wave director's most enjoyable, and a beautifully frank take on the highs and lows of that foolish little thing called love.
As inspiring as his faith in the written word may be, and as elegantly written as his characters' long verbal encounters often are, it's hard not to wish for a few transcendent images to burn them into our memory.
Besides the wonderful scripting, there are quite a few winning performances, especially from Bellar, who's utterly charming in both her vulnerability and optimism, and Rauscher, an acting newcomer.
What a wonderful world. Sure, people cheat on each other. But they also act honorably and speak honestly and admit the darkest secrets about themselves. This sort of movie might bore you to tears, but it also might be just what you've longed for.
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