There's an inevitability about comparisons with Rohmer; but le Chignon d'Olga is far more inconsequential and a good deal less stylistically innovative than the maestro at his best (e.g. in Un Conte d'Hiver), who, pace a previous reviewer, is much less superficial than he seems. Whilst Rohmer tends to use plot and character ironies to point up inconsistencies between what people say and do, le Chignon d'Olga is comparatively content with the face-value logic with which characters present themselves and explain away their behaviour, and is a good deal less dramatically interesting as a result. The father, in particular, is a ponderous figure without depth, yet takes up a lot of screen time. The sister is a drama waiting to happen, but which never gets the opportunity. We do not really get inside Julien's head, despite his being the central character, mainly because he gives so little away, and Alice is just a horny provincial stereotype. As for the eponymous Olga; Rohmer would never have made the mistake of limiting her role to around thirty seconds. Comparisons with Woody Allen are similarly inappropriate (there isn't that level of wit or psychological analysis in the dialogue). A more apt parallel would be with Bill Forsyth's Gregory's Girl. Bonnell, too, can charm; but he has not yet learnt how to be challenging or incisive. Or particularly funny. Still he is young.