Eva (Edwige Shaki) and Roman (François Rauscher) are two good-looking intellectuals who playfully discuss the curves of the female body, its symbolism and its sensuality in this short film (shot in video) which is edited and technically advised (and influenced) by Eric Rohmer, and directed and written by Shaki herself.
The two meet at a sculptor’s studio. Roman has just finished a conversation about his thesis on ‘Body Language in Impressionist Painting,’ and has been examining the curves of the female sculptures in the workshop. A woman (Eva) turns up and leans against his studio door in a way that emulates a sculpture. Roman is transfixed.
Two weeks later they are in Roman’s apartment, where the influence of Rohmer’s trademark meandering conversations take the story forward. Pictures of nudes by Old Masters are pinned to the wall above the bed; they look down on Eva as she sleeps and talks (and talks, and talks) with Roman.
Infatuation is new, and there is much to discuss about art: what informs our desire, and what is pictorial. Roman claims Eva is pictorial; in other words, sensual, like a nude painting. Eva is annoyed he can only appreciate her breasts in relation to Modigliani, Degas or Magritte.
Theirs is a young nest of playful intellectual flirtation and Eva is adamant she doesn’t want to be seen as an object of desire. ‘Why not an object of love?’ Roman retorts.
Their attraction rests on a cloud of ideas, it’s the glue that joins them, and suggests the gentle ‘chatty’ eroticism so characteristic of Rohmer’s work.
Director: Edwige Shaki (1999)