The Bakery Girl..., only 23 minutes long, has all the basic elements: A man, infatuated with one woman, flirts with another, all the while comforting himself with self-serving rationalizations and a comic lack of self-knowledge. This film's simplicity makes it more charming and satisfying than the more awkward efforts of Rohmer's next two films, Suzanne's Career (about a student who idolizes a callous older boy and only too late realizes that the girl they've been mocking may have a better grasp on life) and La collectioneusse (about a love triangle at a countryside estate; oddly, though released two years before the next film, it's presented as the fourth in the series), though each has moments of insight and delight. The remaining three movies are masterpieces: In My Night at Maud's, a Catholic engineer (the superb Jean-Louis Trintignant, Three Colors: Red) wrestles with his morals and his desires while spending the night with the enigmatic and alluring Maud (Francoise Fabian, 5 x 2). Claire's Knee gently mocks Les Liaisons Dangereuse as a man about to be married is goaded by a female friend into pursuing an infatuation with a young nubile nymph. And the last of the series, Love in the Afternoon (also known as Chloe in the Afternoon) follows a husband whose unconsummated affair with an old friend almost capsizes his happy marriage. What's most remarkable about this series is that, though each has virtually the same plot, watching all of these films in close succession only highlights their intricate differences and the complex shadings of delusion and yearning. Rohmer's work grows more fascinating the more familiar his methods become. Some filmgoers consider "nuance" code for "boring," but anyone who finds the collision of hearts and minds more exciting than car crashes will find Six Moral Tales revelatory and rewarding. --Bret Fetzer