From My Night at Maud's (SFIFF 1969) to Claire's Knee, Chloe in the Afternoon (SFIFF 1972) to A Tale of Springtime (SFIFF 1992), Eric Rohmer has made a career out of treating modern romance like the greatest classical love stories. Witness his tellingly named Six Moral Tales or Comedies and Proverbs series, their regal titles recalling centuries-old tales far more than their characters' twentieth-century moments. So it is entirely appropriate for this grand master, now eighty-seven, to draw inspiration from the classic seventeenth-century French text (set in fifth-century Gaul) The Romance of Astrea and Celadon for his latest, perhaps final film. Gorgeous and sun-kissed, the young shepherd Celadon and the beautiful Astrea are ill-fated lovers, their romance torn asunder by a sudden misunderstanding. An attempt at suicide lands Celadon in the clutches of the sensual Galathea and her handmaidens, but a helpful passerby soon gives our hero an idea to re-enter Astrea's life and heart. Filled with nymphs, druids, and angels, the film is literally atwitter with the sounds of medieval times-lutes, crickets, and waterfalls dominate the soundtrack-and aflutter with its more sensual sights, including countless breezes caressing the billowing shirts of our hero, heroine, and sundry nubile lasses. Like all things old becoming new again, this ancient tale embodies all of Rohmer's very contemporary themes, presenting its mélange of romantic befuddlement, entanglement, and desire as effortlessly and entertainingly as any modern romance. Deliciously anachronistic, this sweet-natured idyll is the great director's farewell to a lifetime of star-crossed, verbose, and ever-so-lovely lovers.