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La collectionneuse (1967)

Not Rated | | Comedy, Drama, Romance | 2 March 1967 (France)
A womanizing art dealer and a painter find the serenity of their Riviera vacation disturbed by a third guest, a vivacious bohemian woman known for her long list of male conquests.



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Complete credited cast:
Daniel Pommereulle ...
Alain Jouffroy ...
Mijanou Bardot ...
Carole (as Mijanou)
Annik Morice ...
Carole's girlfriend
Dennis Berry ...
Seymour Hertzberg
Patrice De Bailliencourt ...
Homme dans l'auto
László Benkö
Anne Dubot
Rest of cast listed alphabetically:
Jackie Raynal


Adrien travels to a villa on the Riviera. He is on vacation and plans to relax. He shares the villa with a friend, Daniel, and a female stranger, Haydée. Haydée has many lovers, and both Adrien and Daniel despise her at first, but Adrien soon becomes more and more intrigued and infatuated. Written by Yepok

Plot Summary | Add Synopsis


Comedy | Drama | Romance


Not Rated | See all certifications »





Release Date:

2 March 1967 (France)  »

Also Known As:

A Coleccionadora  »

Filming Locations:


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Technical Specs


Sound Mix:



Aspect Ratio:

1.37 : 1
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Did You Know?


This is the fourth film in Rohmer's series of "Moral Tales" (Contes Moraux). See more »


Adrien: You're a little immoral slut!
Haydée: I definitely don't agree with your morals.
Adrien: I don't either.
See more »


Referenced in De fem benspænd (2003) See more »

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User Reviews

Rohmer's lesser achievement
25 August 2015 | by (China) – See all my reviews

It is truly disheartening to calmly embrace the fact that the aftertaste of watching this film is a certain degree of disappointment, against my almost irrational desire to love Rohmer's oeuvre, but I just don't like THE COLLECTOR, the fourth chapter of Rohmer's "MORALE TALES" series, the first feature length in the series and his very first colour feature too.

Searching inwards, what takes me aback actually is the three protagonists, Adrien (Bauchau), an art dealer, Daniel (Pommereulle), a painter, and Haydée (Politoff), a young girl, the titular "collectionneuse", none of them is really simpatico enough to deserve viewers' attentiveness, on top of that, after three rapid prologues introducing those three, the entire film is vexingly hinged on Adrien's viewpoint with his , and he is the most obnoxious one among them, narcissistic, supercilious and self-centred, ever since he meets Haydée, a stranger who stays with him and Daniel in a villa of their their common friend in Riviera for vacation. The arrival of Haydée disrupts Adrien's "doing nothing" plan of his holiday, especially when he can smugly occupy the moral high ground to hold her promiscuity in contempt, meanwhile, his resolution of not being one of her "collection" is persistently being challenged by Haydée's sensuality, a typical tug-of-war between moral superiority and libidinous inferiority.

Haydée, sports an ingénue appearance, is in another quandary, as she confesses without the usual pretence, she is looking for a normal relationship, but every man she meets only attracts to her sex appeal, obviously she forgets, birds of a feather flock together, if she wants a more meaningful relationship, she should opt for a different potential market, not those hormone-driven lads. Yet the heart wants what the heart wants, she is too young to realise that, and which is why she enjoys playing the catch-and-release game with Adrien, treats him like her usual prey, starts the first move then retreats to a blasé niche towards his tentative courtship, as titillating as it can be, sometimes it backfires. As the finale points out, the game-changer sometimes arrives unpreparedly, just a spur of the moment, that's how frivolous a man's thoughts are, this is where Rohmer hits the home run, but only if we could be saved from all the metaphysical jibber-jabber.

Daniel, the third footing of the triangle, is more elusive since mostly he is more of an outsider observing the game emotionlessly, until he participates in as a catalyst to meddle with the imbroglio, at one time it seems he would play a more significant counter-part in the contest, but after a bit, he is defeated and drops out, leaving the room for Sam (Archer), an American art collector whom Adrien is doing business with, to be manipulated for another test of the bottom line between the sex battle, only it will cost him an expensive Chinese vase from Song Dynasty.

Majestically shot under the natural light, after all, as cerebral and insightful as Rohmer's master stroke is, THE COLLECTOR doesn't strike the same chord as his two latter films (THE AVIATOR'S WIFE 1981 and PAULINE AT THE BEACH 1983) I've previously watched, but it will not discourage me from his works, it is just a little bump on the road, never mind.

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