L'Amour Fou (Jacques Rivette, 1969)

Cast: Bulle Ogier, Jean-Pierre Kalfon, Josée Destoop, Michèlle Moretti, Celia, Françoise Godde, Maddly Bamy, Liliane Bordoni, Yves Beneyton, Dennis Berry, Michel Delahaye, André S. Labarthe. Screenplay: Jacques Rivette, Marilù Parolini, Cinematography: Étienne Becker, Alain Levent. Film editing: Anne Dubot, Nicole Lubtchansky. Music: Jean-Claude Eloy. 

Le Pont du Nord (Jacques Rivette, 1981)

Cast: Bulle Ogier, Pascale Ogier, Pierre Clémenti, Jean-François Stévenin, Benjamin Baltimore, Steve Baës, Joe Dann, Mathieu Schiffman, Antoine Gurevich, Julien Lidsky, Marc Truscelli. Screenplay: Bulle Ogier, Pascale Ogier, Suzanne Schiffman, Jacques Rivette. Cinematography: Caroline Champetier, William Lubtchansky, Film editing: Nicole Lubtchansky, Catherine Quesemand. 

Céline and Julie Go Boating (Jacques Rivette, 1974)

Dominique Labourier and Juliet Berto in Céline and Julie Go Boating

Cast: Juliet Berto, Dominique Labourier, Bulle Ogier, Marie-France Pisier, Barbet Schroeder, Nathalie Asnar, Marie-Thérèse Saussure, Philippe Clévenot. Screenplay: Juliet Berto, Dominique Labourier, Bulle Ogier, Marie-France Pisier, Jacques Rivette, Eduardo de Gregorio, based in part on stories by Henry James. Cinematography: Jacques Renard. Film editing: Nicole Lubtchansky. Music: Jean-Marie Sénia. 

The Discreet Charm of the Bourgeoisie (Luis Buñuel, 1972)

Bulle Ogier, Delphine Seyrig, Fernando Rey, Paul Frankeur, Stéphane Audran,
and Jean-Pierre Cassel in The Discreet Charm of the Bourgeoisie

Cast: Fernando Rey, Delphine Seyrig, Paul Frankeur, Bulle Ogier, Stéphane Audran, Jean-Pierre Cassel, Julien Bertheau, Milena Vukotic, Claude Piéplu. Screenplay: Luis Buñuel, Jean-Claude Carrière. Cinematography: Edmond Richard. Production design: Pierre Guffroy. Film editing: Hélène Plemiannikov.

The frustration of the bourgeoises in Luis Buñuel's The Discreet Charm of the Bourgeoisie at having their various attempts to sit down at a table and have something like a meal never reaches the furious breaking point that it does for the characters who try to escape from a house party in his The Exterminating Angel (1962), but not because the director had mellowed in the decade between the two films. He had grown more sly and subtle, I think. The world of The Discreet Charm is liminal; the characters are trapped somewhere between dream and reality, between past and future, in a place they're determined to enjoy come what may. In the celebrated dream-within-a-dream, in which one character dreams what another character is dreaming, namely that they're on stage in a play without knowing what their lines are, even then they seem determined to make a go of it, just as the Sénéchals are determined to have sex even though they know their guests have just arrived for luncheon. There's a "keep calm and carry on" quality to these characters that's almost admirable, even when they're faced with the most absurd situations, like a corpse in the next room of the bistro, or a restaurant that has run out of tea and coffee. Not everything in the movie works, I think: The character of the priest/gardener who listens to an old man's confession that he murdered the priest's parents, gives him absolution, then blows him away with a shotgun, seems to me gratuitous -- Buñuel determined to exhibit his contempt for the clergy come what may. But on the other hand, it stayed with me even when I couldn't quite fit it into my overall experience of the film, which is a mad masterpiece.