Rohmer remains in every film extremely honest. Both with us and with his characters. Rohmer doesn't judge, even if he proposes moral stories from the start, but lets us look in the mirror. His characters are exactly what we are. Of course, the central themes in almost all his films are friendship (Four Adventures of Reinette and Mirabelle) but especially sexuality, eroticism, love. And here, we have no negative or positive characters. All the characters, whether female or male, are hesitant (Blanche), inconstant (Lea), confused and bewildered (Fabien) or downright complex (completing the complex with superior arrogance) like Alexandre.
Rohmer always becomes uncomfortable because without being violent (on the contrary) he confronts us with paradoxical situations that even we don't know how we could handle if we were in their shoes. And even if Boyfriends and Girlfriends doesn't rise to the level of subtlety as A Night at Maud's or The Collector they remain in the same often sarcastic but gentle, wry but friendly tone where the dramas are small (even theatrical). It's fascinating the constancy with which Rohmer gives the actors (but especially the actresses) in the cinematic performance that declamatory role as if reciting from their own diary, the almost ridiculous intonation with which they make off-color statements trying to sound profound, the discrepancy between their own dreams and their own (in)actions, the laughable decisions that bring them to the brink of catastrophe.
However, the catastrophe never happens. The somewhat immoral, mundane solutions never let the characters break away from reality. Rohmer forces them to come back down to earth and us to accept that life is exactly like in his films and not the other way around.
Rohmer always becomes uncomfortable because without being violent (on the contrary) he confronts us with paradoxical situations that even we don't know how we could handle if we were in their shoes. And even if Boyfriends and Girlfriends doesn't rise to the level of subtlety as A Night at Maud's or The Collector they remain in the same often sarcastic but gentle, wry but friendly tone where the dramas are small (even theatrical). It's fascinating the constancy with which Rohmer gives the actors (but especially the actresses) in the cinematic performance that declamatory role as if reciting from their own diary, the almost ridiculous intonation with which they make off-color statements trying to sound profound, the discrepancy between their own dreams and their own (in)actions, the laughable decisions that bring them to the brink of catastrophe.
However, the catastrophe never happens. The somewhat immoral, mundane solutions never let the characters break away from reality. Rohmer forces them to come back down to earth and us to accept that life is exactly like in his films and not the other way around.