Rohmer's late The Green Ray is one if his great films of conversation

Eric Rohmer's 1986 film The Green Ray (his last? one of his last?) is not nearly as well known as his earlier major works, e.g., Clare's Knee or My Night at Maud's, but it's in the same general style though maybe even more distilled: Rohmer was perhaps the greatest filmmaker of conversation, the ancestor of "mumblecore" but so much finer and more intelligent. Green Ray is a movie that can break your heart, a simple tale of a young woman, Delphine, living in Paris who just can't connect with people. At the outset her plans for summer vacation go awry as she receives a call from a friend cancelling their plans for trip together. This information upends Delphine: She cannot endure spending her four weeks of vacation in Paris, nor can she endure the idea of traveling alone. It seems as if she has a lot of friends and resources, and she's very attractive and well spoken, but nothing seems to go right for her: One friend offers her an apartment in the Alps, she goes there, but returns to Paris the same day, in tears. Everywhere she goes she sees others happily engaged in conversation and in life, and she just continues to feel like an outside. Guys try to hit on her in various ways - and she's intelligent and sensible enough to walk away from these lewd or blunt overtures, but that leaves her even more alone. I can't "diagnose" her, but she certainly seems clinically depressed and at times perhaps on the spectrum - not quite knowing how to modulate her conversation to fit in w/ the lighter banter around a dinner table. We follow her through various encounters over a month-long span, each filmed in a manner that prefigures "reality TV" - a documentary look, with many long takes, sometimes with two Delphine and another character held for along time in the same frame. There's simple musical score at only a few moments; generally, the background is just the ambient noise of street  life in Paris or elsewhere on her travels (in one sequence, passers by look into the camera during a series of long takes - a flaw that makes the film seem even more authentic). I won't give anything away, but the film does rise to an emotional crescendo - an excellent work by one of the great filmmakers.