Give Us This Day
(Donnez-nous aujourd'hui by Claude Roy - Cahiers du Cinema 1, April 1951)

Dmytryk's last film before his imprisonment, and Ben Barzman's last film before his exile, is almost admirable, and leaves the viewer with the perfect impression of the masterpiece it contains. The novelty, the richness of the theme they dealt with seem to have transported the writer and the director. The writer of images and the filmmaker wanted to embrace all the consequences of their…

An Act of Faith
(Un acte de fois by Joseph-Marie Lo Duca - Cahiers du Cinema 1, April 1951)

AN ACT OF FAITH
Some people, in front of the Victory of Samothrace, find that its base is heavy or badly profiled. This is a direction of their sight, and in a way, their destiny.
The same people discuss the hem of the priest's cassock, or the awkwardness of his temptations, in front of the Diary of a country priest. Perhaps…

L' hélice et l'idée by Eric Rohmer (Cahiers du Cinema, March 1959, N° 93)

Itself, by itself, solely ONE everlastingly, and single. – Plato

We would have gladly pardoned Alfred Hitchcock for following the austere The Wrong Man with a lighter work, more of a crowd pleaser. Such was perhaps his intention when he decided to bring the novel by Boileau and Narcejac, D’entre les morts, to the screen. Now, the esoteric nature of Vertigo, so they say, repelled Americans.…

Eric Rohmer: 'The Land of Miracles'

('La Terre du Miracle', Cahiers du Cinema 47, May 1955, written under his real name, Maurice Scherer)

The term 'neo-realism' has become so debased that I would hesitate to use it in relation to Viaggio in Italia if Rossellini hadn't in fact claimed it himself. He sees this film as embodying a 'neo-realism' that is purer and deeper than in any of his earlier films. At least that was his comment to one member…