Of the five directors with whom Rohmer is usually grouped, he is the second to have died.

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As Rohmer so rapturously proves through the adventures of his quietly rebellious protagonist, the negative of a negative is a positive.

NEWYORKER: Summer

April, May and June sees a complete restrospective of Eric Rohmer's work.

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Eric Rohmer, the iconic film critic and director who helped breathe new life into postwar French cinema, died Monday at the age of 89.

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Eric Rohmer constructed his latest film, from 2004, on his old theme: the danger of falling for a false love while awaiting a real one.

NEWYORKER: Triple Agent

Less an anti-modernist than a sensual conservative, Rohmer derides bureaucracy, presents an exemplary domesticated romance, exalts charming traditions, and expounds, in comic form, his techno-utopia.

NEWYORKER: The Tree, the Mayor, and the M��diath��que

The death of Rohmer will be particularly noted by the contemporary filmmakers who owe him -- and other members of "La Nouvelle Vague" -- a debt.

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As a result, it takes Rohmer a long time to reunite the original pair, but from love delayed, he asserts, music, painting, poetry, architecture, and religion are born.

NEWYORKER: The Romance of Astr��e and C��ladon

More recently, the influence of Rohmer's particular style -- long takes, extended conversations on everyday topics -- can be seen in the films of Quentin Tarantino and Steven Soderbergh.

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