“The presence of the lake and the mountains is stronger in color than in black and white. It is a film I couldn’t imagine in black and white. The color green seems to me essential in that film…This film would have no value to me in black and white.” – Eric Rohmer on Claire’s Knee

It’s a good thing Rohmer has Almendros as his cinematographer here, because he makes the greens and blues truly pop. Rohmer’s tale of desire is played out against the backdrop of the exquisite Lake Annecy, which Almendros, as a pro, knows how to capture. It would have been easy to treat the lake as a purely ostentatious landscape, shooting it like a clip from Getaway, but Almendros first and foremost uses the locale as a way of enhancing the films mood and atmosphere.

In true signature Almendros style, the character’s are backlit by the sun (perhaps with the help of some bounce boards). Bodies are often shot from the waist up, and when in the shade, there really isn’t any noticeable key light. The shadow takes up the whole of their faces, but isn’t a distraction and detail is still evident.