Eric Rohmer is a master of a very particular aesthetic. His films are most often referred to as "talky," which is true to an extent. But this evaluation ignores two crucial facets of his work: firstly, that all the talk in Rohmer's films is incredibly important in defining character, never just empty chatter; and secondly that in addition to the dialogue, Rohmer pays a great deal of attention to his films' spacious visuals. The 8 films in this incredibly affordable box bear out this impression. Each of these films is, on the surface, rather similar: a few characters with romantic problems of some sort, who meet each other, talk, talk, and talk some more. Each film could be summed up that way, and yet each film is as different as the characters involved. "Love in the Afternoon" is a characteristically muted examination of infidelity and marriage in which marriage -- very unusual for the cinema -- comes out on top. "The Aviator's Wife," possibly Rohmer's masterpiece, is his most charming film, an extended dream-like odyssey of voyeurism and mild detective adventure and the nature of love. "Pauline at the Beach" is maybe his sexiest film, a multigenerational tale of flings, lust, betrayals, and communication gaps, all set against the gorgeous emptiness of a beachside vista. The heroines of "A Good Marriage" and "The Green Ray" are some of Rohmer's typically stubborn, idealistic characters, who set the ideal against the imperfections of real life and suffer as a result. But it's indicative of Rohmer's profound hope that even then these stories are never tragedies, and they always end with the sense that life is going to go on, and maybe even get better, once the film stops. All the films look great in Arrow's box set, which also features interviews with Rohmer about each film, and a 1960s short film by the director.