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Hi Patrick,

My name is Chazz Lyons and I edit and run a multi-writer blog in the midst of transitioning to a full-blown website called Gone Cinema Poaching (currently at www.cinemapoaching.blogspot.com, soon to be at www.gonecinemapoaching.net), which publishes film reviews, essays and interviews. My deputy editor and myself are currently looking for a couple more critics to fill out the staff. Would you be interested? If so email me at editorGCP@me.com and we can discuss details.

Chazz Lyons

I fear your caption details under the photo of Rohmer are incorrect. Here he is much younger. On The Romance of Astrea and Celadon he was 86 & had difficulty in moving. I have a photo of him on location sitting rather bent in a chair in a field as crew & cast move around him. His reason for ending his film-making career at this point was precisely his immobility.
fortunately for us, his intellectual faculties were unimpaired so his swansong is a worthy testament to his powers.

i like this part of the blog:"She rejects the aggressive pursuit of a writer played by Fabrice Luchini ("I can't accept that one aspect of you is beyond my reach," he tells her). But the apartment that suggested sexual escape, freedom, and fulfillment turns into an abject symbol of her loneliness and isolation. Rohmer is less interested in sex than in its consequences. The image of Ogier's naked body in flight from a sexual experience is one of the most unsettling images of exile ever shown.”

" is very good

The films viewpoint changes from Riviere to Marlaud with the innovative use of an eye chance, and the major viewpoint instantly becomes the broken, tormented mind of the young man.

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