I expected Éric Rohmer’s Conte d’hiver (A Tale of Winter, 1992) to leave me thinking about romantic fidelity, chance, and perhaps a little theology. Instead, I ended up arguing with Félicie, defending her, criticizing her again, correcting some of my own criticisms after returning to the screenplay, questioning whether her “faith” is really faith, and finally becoming much more interested in Loïc than in the miraculous return of Charles. The film grew richer every time one of my…
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