“Astounding. Barbillon (working with the cinematographer Raoul Coutard, who’d revolutionized the craft with “Breathless”) films the breezy tragedy of small-scale incompatibility and large-scale despair in a series of wry vignettes that lead to a wondrous effect, a comic mask for ineffable horror. What happened to Barbillon, I can’t trace: she made one more short in the same year, then a TV movie in 1984, and, apparently, nothing more. Yet “Mademoiselle Flora” is the work of a filmmaker who, in her art and her ideas, is the peer of any in Braunberger’s exalted circle. The film’s availability is as much a cause for celebration as for bewilderment and bitter historical regret.” —Richard Brody, The New Yorker