Resnais illustrates these with flashbacks that well up out of the film’s present tense and overcome it.The “you” the actress speaks to in her monologues is as much her dead lover as the man with whom she just spent the night; the river Loire of 14 years ago co-exists with the river Ota of now.
Doris Dörrie entretient une forte relation avec le Japon depuis 1985, année de son premier voyage au Pays du Soleil Levant pour la présentation de son film Straight Through the Heart.
The movie seems to have stopped going anywhere, but it has simply headed inward. the drama drops into unnecessary romantic vagueness and repetition.” He wasn’t alone. As Resnais would explore much more deeply in his next work, 1961’s “Last Year at Marienbad” — a film that can really drive audiences crazy — and over the course of a long and rich career, human life is a complex matrix of history, emotion, perception, and nostalgia, which we simultaneously take in and replay in endless permutations, both for ourselves and the people we try to love.
When the film was released in the United States in May 1960, the critic for the New York Times found these scenes “slightly bewildering. There is no art form better suited to replicate this process than the cinema.
The last third of “Hiroshima Mon Amour” takes the approach daringly far, the actress wandering the late-night streets of Hiroshima trailed by the lover who hopes she’ll stay.
They dip in and out of tea houses, separate and come back together, flit between past and present, all to a soundtrack of hesitant thoughts and a delicate score by Georges Delerue and Giovanni Fusco.