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Hiroshima Mon Amour
1959
Mourning for Anna
2010
Alone in the Night
1945
The Buried Forest
2005
The Charterhouse of Parma
1948
Cléo from 5 to 7
1962
Ten Thousand Days
1967
There's No Tomorrow
1940
The Murdered House
1988
Once Upon a Time in the East
1974
The Discreet Charm of the Bourgeoisie
1972
Muriel, or the Time of Return
1963
Hiroshima Mon Amour(Movie)Mourning for Anna(Movie)Alone in the Night(Movie)The Buried Forest(Movie)The Charterhouse of Parma(Movie)Cléo from 5 to 7(Movie)Ten Thousand Days(Movie)There's No Tomorrow(Movie)The Murdered House(Movie)Once Upon a Time in the East(Movie)The Discreet Charm of the Bourgeoisie(Movie)Muriel, or the Time of Return(Movie)
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September 10, 2020 - by James
i struggle to give this a rating it's more a akin to video art that any sort of feature film. much like your first love it's beautiful, maddening and leaves you in awe of its scope. read
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How does one rate a film like this? On a substantial level there isn't much to account for, as the film deliberately distances itself from conventional narratology and every form of interpretation. The relationship between the leads, centering around a would-be love affair, is nonsensical. Characters talk like citing lines from a poem. Resnais probably intended this to be more of an experience, with delightful cinematography to boast. Melting Lynchian mysticism with a Welles-like finesse. read
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"it was last year. have i changed that much?" what happens when you know how to make great films but not what to make them about. beautiful throughout, and genuinely mysterious, despite the near complete absence of coherent plot. i also felt kubrick pulled a fast one on them when looking for ways to shoot the overlook hotel in the shining. delphine seyrig is a goddess and her outfits were amazing! read
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a story about people who are forever trapped at a hotel in an endless cycle of the same events, this film is obsessive, claustrophobic, and stifling in nature. the mans insistence on a single matter that persists throughout becomes a little hard to bear after a while. combined with the unnerving score, the film quite literally comes to threaten the audiences sanity. and i dont necessarily mean any of that in a negative way. did i enjoy feeling like going mad? nope. but thats exactly the intent of the film -- to nearly drive one crazy, and the picture is immensely successful at doing just read
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Last Year at Marienbad: Which Year at Where?
By Mark Polizzotti
ESSAYS — JUN 22, 2009
So much critical ink has been shed over Last Year at Marienbad that one might wonder if the flood of commentary, once receded, would take the film along with it. Alain Resnais second feature has been lavishly praised and royally slammed; awarded the Golden Lion at the 1961 Venice Film Festival and nominated for an Oscar, but also branded an “aimless disaster” by Pauline Kael; lauded by some as a great leap forward in the battle against linear storytelling and a worthy successor to Hoffmann, Proust, and... read
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