Blissful
The Romance of Astrea and Celadon (2007)
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Reviews Counted:38
Fresh:25
Rotten:13
Average Rating:6/10
Consensus: A disappointing melodrama with a pedestrian script and direction.
Runtime: 1 hr 49 mins
Genre: Foreign Films
Synopsis: French legend Eric Rohmer directs this adaptation that played at the film festivals in Toronto, New York, and Venice. Based on a 17th century novel that was set in the bucolic countryside in the... French legend Eric Rohmer directs this adaptation that played at the film festivals in Toronto, New York, and Venice. Based on a 17th century novel that was set in the bucolic countryside in the 5th century, THE ROMANCE OF ASTREA AND CELADON concerns the love of the titular couple. A misunderstanding between the pair leads to Astrea (Stéphanie Crayencour) banishing her beloved Celadon (Andy Gillet) from her sight. Since he cannot live without his love, he throws himself into the river to end his life. Ironically, that's where the fun begins: Celadon survives, and in order to be close to Astrea, he dons drag and begins a close friendship with her. [More]
Starring: Andy Gillet, Stéphanie Crayencour, Cécile Cassel, Mathilde Mosnier
Starring: Andy Gillet, Stéphanie Crayencour, Cécile Cassel, Mathilde Mosnier, Jocelyn Quivrin
Director: Eric Rohmer
Director: Eric Rohmer
Screenwriter: Eric Rohmer
Producer: Jean Michel Rey, Philippe Liégeois, Françoise Etchegaray
Composer: Jean-Louis Valero
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Release:
Feb 10, 2009
Reviews for The Romance of Astrea and Celadon
In what he claims will be his final film, 87-year-old Eric Rohmer fashions a serenely daffy coda to a half a lifetime spent behind the camera exploring the vicissitudes of romance.
Eric Rohmer has said that The Romance of Astrea and Celadon is probably his swan song, and he's not pulling any punches here.
It's often as fresh and buoyant as [Rohmer's] modern takes on the battle of the sexes.
This is no historical portrait of ancient life but a dreamy reflection of 17th-century romanticism of the past...
But I wish the acting was less like amateur dramatics and the plot less like a slightly camp game.
Rohmer's gentle philosophical chat is better heard, I think, among the muddled middle-classes of late-20th century France.
A transcendentally batty essay in am-dram costume cinema, starchy with recitative, fragrant with period fabric conditioner and white with laundered emotionalism.
Strip away the fey costumes, aristocratic nymphs, kindly druids and fairytale castles and what have you got? A typically Rohmerian exploration of courtship and fidelity among innocent young ’uns.
The director's usual traits are present and correct – glacial pacing, silent film-like direction, a love of nature – meaning audiences' eyes will soon Rohmer about the room looking for an exit.
At any rate, this is utterly distinctive. Go and see it: a sorbet of high-mindedness to refresh the palate.
The film, talky, tediously overlong and crammed with kitsch, postcard-pretty country scenery, gets exponentially weirder by the minute, culminating in a cross-dressing pseudo-lesbian clinch.
Rohmer's swansong is droll, dignified and dull as a druid's dishwater.
It is the wisdom, passion, joy and hope with which he invests the film that makes it so terribly moving.
Some may find the digressions on the nature of love heavy going, but such qualms only reaffirm that the swansonging Rohmer retained his individuality throughout his 50-year career.
Flatly directed, frequently dull and ultimately disengaging drama that's like watching a badly staged version of an extremely boring play.
Rohmer's swansong is droll, dignified and dull as a druid's dishwater.
The movie looks and feels exactly how it probably was to make: like a walk in the park.
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