Synopsis
A lonely Parisian woman comes to terms with her isolation and anxieties during a long summer vacation.
1986 ‘Le rayon vert’ Directed by Éric Rohmer
A lonely Parisian woman comes to terms with her isolation and anxieties during a long summer vacation.
Ministères de la Culture de l'industrie et des P.T.T. Ministère de la Culture et de la Communication P.T.T. Les Films du Losange
Зеленый луч, El rayo verde, Summer, Le Rayon vert
Comedies & Proverbs #5
'Oh! May the time come when hearts fall in love'
Towering.
Rivière spends much of the film explaining herself, verbalising and justifying decisions and events which she feels truly passionate about - her character is, in some ways, sure of herself, but at the very same time achingly unsure of her place within the society which surrounds her. She is lonely, and she doesn't want to be, yet she can't let herself connect to the light-weight, surface-level conversations which seem to define what 'meeting new people' is. She spends much of her time on vacation alone because she feels at home with nature, but in these quiet moments of silence and isolation, the overwhelming pain of an…
There was a moment 40-minutes in where I had to pause the film and sit in reflection, because I was absolutely struck by how much I saw Delphine in myself. It is such an unusual sensation— I never really find characters in films who encapsulate me completely, but I did with Delphine, and I wasn't sure how to react. It's almost comforting in its honesty. This film required me to look inwardly at myself instead of as a mere bystander in others' affairs, and I think that alone is a worthy accomplishment.
4.6/5
"La Rayon Vert" melted my movie heart, and on a hot day, too, making everything perfect for -- finally! -- seeing this film on the big screen.
Eric Rohmer writes Delphine's unique and melancholy character in a raw way that is entirely believable. Sure: she experiences those beautiful moments of summer, mixing mud with a little nudie toddler, meeting a new foreign friend on the beach, watching the wind whip up a meadow or joining people rushing into the waves.
But more often than not...well, Delphine is a fish out of water. And yet she's not happy going with the flow either. She's an uncompromising romantic -- she's waiting for her moment to act, similar to most heroes of great…
A film that speaks to me like few others. I see so much of Delphine in myself that the film would be hard to watch if its criticism of her reservedness weren't so empathetically delivered. Rohmer was a master.
5 years ago, the cripplingly indecesive movie character i related to most was cameron fry from FERRIS BUELLER'S DAY OFF - now it's delphine. that scene where she struggles to articulate why she's vegetarian is me any time someone expects me to explain or defend my beliefs offline.
also is ALL THE LIGHT IN THE SKY swanberg's GREEN RAY?
Rohmer is more interested in dimension than anything else, both literal and metaphoric. The spacial dimensions of the frame have a consciously defined awareness that isn't seen in many films and this is constantly a part of the interplay between characters (vast public spaces make the open nature of our characters and dialogue miraculously claustrophobic, a somewhat retroactive effect that is definitely one of the clear intents of the piece). Rohmer is also interesting primarily in that his dialogue and each segregated 'moment' in the piece is wildly comic and slightly wry (within the first five minutes there's a memorable scene with escalating comments about a statue which is reminiscent of the screenplay for Vera Chytilova's seminal work Daisies) which makes the austere awareness of the existence of the camera even more interesting to watch.
Just when you see it, it's gone.
After finishing The Green Ray, I think Delphine is one of the most human characters ever put to film. She constantly finds it hard to connect with people and these maintain these seemingly pointless surface-level conversations, she questions her worth many times, and she keeps trying to hide her loneliness. Even though I’m nowhere near as anxious and so worried about my future and my place in the world as Delphine, I saw some aspects of myself reflected in her character. I think if this film was done in any other way it would have gotten on my nerves. Usually when I see characters in film deal with anxiety and worry about life, I get a little annoyed because either…
La mejor película que podía ver un viernes noche que no me apetecía salir.
Nunca había visto algo que me aliviase y doliera tanto al mismo tiempo. 💚
35mm. PFA in Berkeley. Beautiful and hilarious. Still one of my favorite endings ever.
A surprisingly fantastic film, its protagonist initially comes across as a frail whiner and not particularly compelling in any way - yet as the film progresses she finds her strength to blossom and proves to be utterly relatable. Possibly Rohmer's best?
도망가는 델핀이 답답하기도 한데 한편으로는 그게 내 모습이랑 너무 닮아 있어서 슬펐다.
그러나 도망치는게 어쩔 땐 용감한 행위 일 수 있다. 싫어도 타인을 생각하며 억지로 그 자리를 지키고 있는 것 보단 나은 것 같기도.
나에게도 녹색광선을 함께 보고 싶은 사람이 나타났으면 좋겠다.
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