I love when Rohmer plays with the natural shapes that rest in the film. The composition is so defined, from the horizon line of the sea and land, to the balcony, to the two doors that frame the characters. In the foreground, a messy yet kept desk, stacked with mugs, papers, and books. Behind it, two characters enjoying a gorgeous view. 

Something about the essence of a woman's bedroom can always make a film interior speak to its audience (see an entry about Lady Bird's Interiors here) but this frame in The Aviator's Wife is truly one of the best. The natural color palette with the walls, pillows, and even Marie Rivière's shirt pairs spectacularly with the mood of the scene, the tearing apart of a relationship, and even a friendship. Rohmer finds a way to make an emotional scene beautiful, so we feel along with the characters.

This frame in Four Adventures of Reinette and Mirabelle speaks to me a lot. It's always fun to see a familiar image in film, and almost throughout this entire film, Reinette and Mirabelle spend all of their time together. Whether that's going to breakfast, travelling to farms, or showing each other art, the film mirrors the actions of my everyday life with my own friends, which is a main reason why I'm so emotionally connected to the film. The vines and flowers intertwined in the background gives the scene a more feminine atmosphere, especially considering how Reinette and Mirabelle literally invented the 'girl dinner' here (lemons and wine?), and the color motifs of red and blue tie the still together gorgeously. 

One of my favorite frames from this film. Rohmer completely captures the essence of young love through shared physical media. There's always been a pretty large wealth of musical motifs in Rohmer's films, yet this scene always tends to be my favorite in that category. The tan and beiges on the outskirts of the frame draw attention to the whites in the middle, where the subjects lie, creating some kind of spectrum all throughout. 

Another one of my favorite stills from Rohmer. Pink is an unusual color choice for Rohmer, especially for one of his earlier films, Claire's Knee. However, when we catch a glimpse, the single frame is packed with fuchsias, pinks, and purples. Another shot of a girl's bedroom, one specifically that I love and believe captures summer all in one picture: a tennis racket strewn on the bed next to a few books and other belongings, maybe dropped off from the owner rushing to go swim, or stroll in town. The decor, minimal but a statement in itself hangs carefully from the bare walls. A tie-dye t-shirt rests on an empty chair, and the sunlight ties everything together. 

While Love in the Afternoon, to me, is a film more known for its plot than its aesthetics, it still does a great job in what it tries to achieve. I love this shot in particular because the entire scene is seemed to be lit by one lamp, which on the plain lies in the right, but illuminates its subject that lies in the left. The symmetry is paired beautifully with a background of organized books, and a foreground of a dark brown desk, which the lamp sits on. Another example of Rohmer's expertise in compositions. 

Ending on a shot that is from one of my favorite Rohmer films, A Summer's Tale. This shot is incredible in so many ways, from the warm glow of the natural sunlight, to the abundance in house plants that creates depth and texture, to all of the brass clocks hanging on the walls. The frame, to me, resembles waking up after the sun rises, and taking in the day as slowly as you can. Peering though the window, we see trees, bushes and flowers, which pair amazingly with the plants that sit on the windowsill. The frame captures the summer romance that occurs throughout the story: fleeting, warm, and vibrant.