Residents of a suburban community enjoy a night at home with their friends and family, while an ominous threat looms just outside their doors.
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Simple conversations engender complicated human interactions. The first in Eric Rohmer’s Four Seasons series, Conte de printemps (A Tale In Springtime) is the story of an introverted young girl (Florence Darel) just reaching adulthood who takes a liking to an older woman she meets at a party (Anne Teyssedre) and determines to match her off with her father (Hugues Quester), despite the latter’s already having a lover of his own. There is a certain absurdity to this, apparent to both adults, who though both reluctantly attracted to each other resent Darel’s attempts at matchmaking. Nevertheless, both of them are intelligent enough to understand that there is no ‘proper’ way to meet, and are alive to the possibilities that life brings them. Darel, for her part, is a persistent catalyst. As with all Rohmer films, the stage is set, in an age of increasing impermanence and uncertainty in human relationships, for a series of minimalist reflections on love and life.
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Juan has become the laughingstock of the small fishing village, due to his wife being unfaithful and getting pregnant by another man. He has left fishing and now obsessively cares for an ostentatious mansion of a wealthy family from the capital. One day, the young son of the owner shows up at the house, without his father’s permission and loaded with alcohol, with a foreign friend and a village girl they just met. During the course of the weekend, Juan will be forced to make decisions that will affect the rest of his life.
Deliveryman Jongsu is out on a job when he runs into Haemi, a girl who once lived in his neighborhood. She asks if he’d mind looking after her cat while she’s away on a trip to Africa. On her return she introduces to Jongsu an enigmatic young man named Ben, who she met during her trip. And one day Ben tells Jongsu about his most unusual hobby…
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