The art and seductive power of conversation lies at the heart of the work of Éric Rohmer, the French New Wave filmmaker who passed away in 2010. Best known for his “Six Moral Tales” series, which included modern investigations of fidelity and ethics in titles like My Night at Maud’s and Love in the Afternoon, Rohmer’s work uses conversation as a platform from which to explore the elasticity of human personality, morality, and rational decision-making. These are not merely films that have a great deal of dialogue – rather, Rohmer crafted interactions between characters that gradually and shrewdly peel away toward the core (or shape-shifting goo) of their identity. The same can be said for A Summer’s Tale, Rohmer’s 1996 film that is only now seeing an official US theatrical release. The third entry in Rohmer’s season-themed late-career series of films (which also includes A Tale of Springtime (1990), A Winter’s Tale (1992) and A Tale of Autumn (1996)), A Summer’s Tale is a masterclass in Rohmer’s one-of-a-kind approach to the spoken word onscreen. The film at first seems like an innocuous series of introspective conversations between attractive people, but eventually unravels into a more complex portrait about the different kinds of people we pretend to be depending upon the immediate audience at hand.