It is a rare thing to find a film like A Winter's Tale, the latest work of Eric Rohmer, in which the protagonists talk about the knowledge of God and the leap of faith, and discuss reincarnation, abortion—to refute it—; invoke the theory of reminiscence; where they go into churches to pray, and in which the heroine thinks her partner ought to go to Mass, because it is Sunday and he is a believer. I should probably make it clear at the outset that this film was neither solicited nor financed by religious authorities, but was created by a film-writer who, while making no mystery of his Catholicism, has never paraded it.

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A Winter's Tale is a masterpiece of subtlety, of precision in dialogue and photography. It handles people and situations with understanding, and even if the people happen to talk about Pascal and Plotinus, there is never a sense of that heaviness which is sometimes discernible in Rohmer’s previous film, A Summer’s Tale, where references to Kant were a little ponderous at times. . . . The setting remains simple and homely, but we do not get the feeling that it was all thrown together in haste, as with some other works. To be honest, since 1982, friends of Rohmer and his films have defended them, at whatever cost, largely on the basis of the admiration lavished on his previous films. Even so, it has to be admitted that the six films made during this ten-year period, especially My Soul’s Friend (1987), were far superior to the average film production.