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Poster for La Collectionneuse

La Collectionneuse

1967 · Film · 86 min

Part of Six Moral Tales

Directed by Éric Rohmer

DramaRomance

Bombastic, womanising art dealer Adrien and his painter friend Daniel go on holiday at a 17th-century villa on the Riviera. But their idyll is disturbed by the presence of the bohemian Haydée, accused of being a 'collector' of men.

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2 comments on Hacker News

  1. Positivejs2Jul 26, 2022

    Let me offer you some not Canal+ French films I've enjoyed: Breathless; Hiroshima Mon Amour; Diva; My Life as a Zucchini; Jeanne Dielman, 23, Quai du Commerce 1080 Bruxelles; The Rules of the Game; Last Year at Marienbad; La Collectionneuse; The Green Ray; One Sings, the Other Doesn’t; The Kid with a Bike; The 400 Blows; My Night at Maud's; The Wages of Fear.

  2. NegativethazeworkMar 25, 2021

    His conservatism transcends such considerations, though as Brody mentions, could certainly be tied to a certain occidental mystique - which he later obliquely denied.

    Paradoxically the films of his which deal most explicitly with sexual mores (Claire's Knee, La Collectionneuse) are those that carry the most regressive lessons: consider them in the context of the free love ideology of the 60s and 70s.

    And then of course there is the masterpiece of fidélité, My Night at Maud's.

    For me though, more than anything else Rohmer is remembered as the chronicler of bourgeois ennui - certainly there is a political dimension here but it is ambivalent. And even then he always depicted his protagonists with care and love, never as caricutures (The Green Ray is emblematic, few other filmmakers could depict the protagonist as anything but pathetic, not Rohmer though).

    For those interested- an earlier review by Brody of a Rohmer film (Summer's Tale) with these words that convey what Brody possibly regards as the root of Rohmer's conservatism: "what emerges is the ironic truth, the confidence that from self-denial, from refusal, from negation, from evasion, from self-effacement, from withdrawal, and from an active self-marginalization, a positive image will ultimately emerge."https://www.newyorker.com/culture/richard-brody/eric-rohmers-tribute-to-his-younger-self"