This is what happens when your car breaks down on a Sunday morning and you have nothing else to do…
Last Year at Marienbad
Takes place in a chateau, an ambiguous story of a man and a woman who may or may not have met last year at Marienbad.
Self-indulgent cinema at its most beautiful. I wanted to love this because duh, but I hated it because also duh. It goes nowhere, it fails to create any kind of atmosphere, and the "nightmare" it portrayed was a pretty tame nightmare. I once had a nightmare where my penis turned into a snake and ate my butt. Make a movie about that.
Deconstructing cinema much in the way Bresson wanted to do but in more grand fashion. It is akin to the Dadaist art movement of anti-art, breaking the rules and destroying the notion of what we perceive as true art. Perhaps not fully to that extent but Resnais clearly experiments with the medium of cinema in a way majorly unaccepted and ironically it becomes the focal point of where the film's greatness lies.
Last Year at Marienbad begins with repetitive and poetic narration ominously filling the air of the long empty corridors and parlors it softly speaks of. In the first few opening scenes alone it is apparent Resnais is ready to deliver something entirely unique to the world of cinema.…
Set within the confines of a grand château, Last Year at Marienbad is a vessel of half-memories and never-ending corridors. It's a black and white nightmare refusing to flow smoothly as all of its elements face off in a tremendous aesthetic battle. Organ music pummels into dialogue, distracting from dense and repetitive conversations, and making it impossible to fully comprehend a grounded reality. The film has its own space, its own temporality, and everything is completely folded into the inescapable setting.
Despite being frequently labelled as ambiguous and surrealist, Last Year at Marienbad can be read in quite basic terms when stripped down. It's always seemed to me that the film attempts to depict the aftermath of a tragic affair…
won't be surprised if I have
like eleven nightmares tonight.
Warning: There might be spoilers ahead.
My first venture into Alain Resnais' filmography couldn’t possibly have left a better impression. As great as straight forward structures can be, it's films like Last Year at Marienbad that give cinema such a unique identity and the ability to tell a story in a way that no other medium can. I like ambiguous films, but it’s the experimental nature on top that really makes this a special piece of work. I don’t really know how to review a movie that often completely ignores typical movie conventions, instead I’m going to talk about observations I made regarding the content, style and what impression they left me with.
Last Year at Marienbad is a film…
"Why don't you still want to remember anything?" ~ X
The trailers announcing this film promised moviegoers a new cinematic experience, "better than 3-D, better than widescreen," putting the viewer at the center of a love story and a mystery. It would require us to come up with our own answers about the truth of various scenes and what really happened at Marienbad a year ago. Right away, we know this is going to be avant-garde filmmaking. Fortunately, having already experienced one film by director Alain Resnais, "Hiroshima Mon Amour," I thought I had some idea of what I as getting into.
It doesn't help at all, of course, that the characters have no names or clear relationships. They are…
Well done cinematography and containing intriguing elements, Last Year at Marienbad was a well-done film. Unfortunately it has not captivated me like other films I've have watched, but I cannot deny that in a general sense this is a classic.
a comedy? a horror film? a total mind fuck that was a big influence on kubrick and lynch, it's like the perfect melding of antonioni and bunuel. an amazing looking nightmare
Defiantly indefinable, frustrating and utterly mesmerising (literally). On a very superficial level, North by Northwest as a jigsaw puzzle with half the pieces missing. You may very easily dismiss it as indulgent pretense but us cinephiles are too busy having our retinas burned by staring into the heart of cinema's most incandescent jewel.
Nim is a game which initially appears incredibly mystic and inexplicable. But do some research and it's actually extremely definable. Well, Last Year at Marienbad is certainly the former, but I doubt the gorgon knot of film would reveal itself to be the latter no how long one tried to unpack it. Those facts and the featured presence of the game in it make me think it might just be all some joke. But regardless, an extremely skillful, atmospheric joke. The camera constantly panning through a baroque chateau -- which would be as a museum, but feels horrendously unnatural as a place where people actual reside -- while the organ score constantly escalates and the accented narrator constantly recites glossolalia…
-I can't remember all of the cool techniques they used, but it made the movie so eerie and cool
-the way everyone would stop and be frozen and the spooky music was so cool
-the camera work also was great, slow moving and eerie with a few crazy speed ups to make us feel like we're viewing something
-cool monologues interesting how they repeat their conversation
-there's obviously a deeper story or meaning, but I couldn't tell on the surface because of the weird narrative
-I'll research what this film is really about later
An enigmatic romance is at the helm of this labyrinthian film. A game of math and logic combat two possible suitors. Indelible memories leave haunting nightmares. A story as comprehensible as dreams themselves, but as unforgettable as our own nightmares… Last Year at Marienbad took the wanderlust relationship concept to much greater heights than Hiroshima Mon Amour but at the price of a substantial, salient narrative and into the realm of memories.
Almost stereotypically artsy. Stunningly boring like a nightmarish "The Great Beauty" on Ambien. Strongly not recommended for sleep-deprived people.
Essentially did in one sitting what Hiroshima Mon Amour did over the corse of half a year. At its heart, it's a film about the insolubility of memory, Resnais takes this simple idea and abstracts it until all the audience is left with a wall of poetic dialogue, stilted performances and gliding camera work.
an endless nightmare of half-remembered hallways, empty cocktail glasses, and ball rooms, every path always leading to the same place that will never feel familiar.
O dark dark dark. They all go into the dark,
The vacant interstellar spaces, the vacant into the vacant.
A list that, if nothing else, proves the day-to-day usefulness of applied statistics.
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