Hiroshima mon amour (1959)
Country: FR/JAP
Technical: bw 91m
Director: Alain Resnais
Cast: Emmanuèle Riva, Eiji Okada
Synopsis:
A French actress making a pacifist film in Hiroshima has an affair with a Japanese married man which recalls for her a tragic episode of her youth in Nevers, when she loved a German soldier.
Review:
One of its director's characteristic meditations on memory, and its close associations with place; it introduced a new style to international audiences, distinct from the semi-improvised approach of Godard and Truffaut, one which used editing and voiceover to counterpoint the narrative. The first reel, in particular, prefigures L'Année dernière à Marienbad in its detached and stylised repetitions. It retains its power to connect and move through purely cinematic means.
Country: FR/JAP
Technical: bw 91m
Director: Alain Resnais
Cast: Emmanuèle Riva, Eiji Okada
Synopsis:
A French actress making a pacifist film in Hiroshima has an affair with a Japanese married man which recalls for her a tragic episode of her youth in Nevers, when she loved a German soldier.
Review:
One of its director's characteristic meditations on memory, and its close associations with place; it introduced a new style to international audiences, distinct from the semi-improvised approach of Godard and Truffaut, one which used editing and voiceover to counterpoint the narrative. The first reel, in particular, prefigures L'Année dernière à Marienbad in its detached and stylised repetitions. It retains its power to connect and move through purely cinematic means.
Country: FR/JAP
Technical: bw 91m
Director: Alain Resnais
Cast: Emmanuèle Riva, Eiji Okada
Synopsis:
A French actress making a pacifist film in Hiroshima has an affair with a Japanese married man which recalls for her a tragic episode of her youth in Nevers, when she loved a German soldier.
Review:
One of its director's characteristic meditations on memory, and its close associations with place; it introduced a new style to international audiences, distinct from the semi-improvised approach of Godard and Truffaut, one which used editing and voiceover to counterpoint the narrative. The first reel, in particular, prefigures L'Année dernière à Marienbad in its detached and stylised repetitions. It retains its power to connect and move through purely cinematic means.