All the films from all the editions, including those subsequently removed, presently totalling 1167. An easy way of seeing how…
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…
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…
Last Year at Marienbad is one of the most surprising films I have ever seen. I had read many articles on how the film is rather aware of itself, or was considered pretentious. I, however, find that the film was remarkably advanced for its time - this is '61, people. The only other Alain Resnais film I have seen to date is Mon oncle d'Amerique, which I did not enjoy immensely (aside: after this, I plan a rewatch very soon). Yet with this film, Resnais has created something that has not aged noticeably, along with some of the most beautiful and influential camerawork in the history of cinema. Many parodies were apparently spawned from the style of this film, lending…
I know its ultra plebeian of me to not give this five stars but watching pretty looking aristocrats valiantly battle their apathy and ennui while a droning organ ceaselessly drills into your skull is really not my favourite way of spending a Sunday evening. From what i had read, I was led to at least expect a thought-provoking experience full of ambiguity and rich thematic content but as it turns out there were not too many layers for me to explore and it was actually pretty straight forward. But most importantly, it never really engrossed me and I was completely cold right through.
However. The fact that it is so ridiculously beautiful does make up for quite a bit more…
Victorian architecture surrounds and embodies numerous archetypes in a duel of individuals, wits, memory, romance, and one increasingly frightening card game. Elements blur into a swooning tapestry of perception teetering on the verge of reality, while time takes a backseat to the haunts of upper class aspirations. It enlightens only to discourage, and moves with such grace that we don't mind the darkness.
[Watched in an arthouse cinema as a part of their Painting with Film theme in conjunction with Woman in the Dunes.] [DCP]
My enjoyment could've been skewed toward the positive direction by the fact that I was watching an arthouse piece on the big screen alongside fellow cinephiles, something I've never done before.
The eeriness of Marienbad was accentuated by the room I'm in, dimly illuminated solely by the B&W projection and seated sparsely by motionless bodies like waxwork; this was an uncanny reflection of the tableaux full of well-dressed men and women shown on screen.
Marienbad distorts space and time, shifts between ambience and silence, juxtaposes motion with stillness, contrasts light and dark, and blurs fiction and truth to deliver a uniquely disconcerting experience.
Exquisite compositions and formal symmetry replete the film with a great sense of wonder, intrigue, and a sense of life within life, repetition with variation, the magnificence of emptiness or the emptiness of magnificence.
93/100 - Amazing.
Anti-art attempts rarely come to fruition - either the state intervenes, or the public swallows the effort whole, leaving future generations of the artistic elite to create their own works, with little guidance. Yet, Alain Resnais' extraordinary opus Last Year at Marienbad is at once a prime example of the French New Wave's artistic integrity, and of cinematic mastery as a whole.
In my butchery of Army of Shadows, I said that Melville's technical and cinematographical achievements were marred by the timely and glacially slow structure - something which is not the case here. Resnais' vision is one which cannot be evinced in any other medium, capturing the stillness of the set with the dynamics of the bourgeoisie, of romance,…
Very weird but somehow compelling to watch. Set in a magnificent hotel, a man claims he met another guest a year earlier at Marienbad but she claims otherwise. Drags on a bit at times but the suspense and atmosphere is interesting.
A lot has been said about the impenetrable nature of this film and its baffling narrative, but a lot of it seems to be self-reflexive; the dialogue regularly refers to freedom, confusion, etc. Two people debate over whether or not it matters what the meaning of two statues is. At one point the director seems to be mocking himself for making this film and at another he mocks those who would criticize it. People play a card game in which the orchestrator always wins, the loser a surrogate for the audience.
I read it as being about the ways in which we assign meaning to art, a self-aware parody of the pretentious art film while actually being a pretentious art…
Screenwriting professors across the globe must have had a collective heart attack in 1961 when Alain Resnais unleashed Last Year at Marienbad upon the unsuspecting world. Never one to rest on his laurels, the director followed up his massively acclaimed Hiroshima Mon Amour with this bold, uncompromising and fully realized manifestation of something existing in a haze between our world and another. Taking place in an eerie, meticulously designed hotel, Last Year at Marienbad doesn't give the audience any grounding for which to establish a foundation before it begins its hypnotic spell which serves to capture an experience unlike any other. Resnais marvelously produces an intangible aura most accurately described as the cinematic equivalent of a dream, where reality blurs…
This review reportedly contains spoilers. I can handle the truth.
Another film I borrowed from the library, and it was in great shape - which was good because you really had to pay attention to this film. Once I decided that this was someone's dream (I never made up my mind on whose dream) it became less confusing about things such as women striking poses that they would normally not do in the way they were done.
Beautiful film to watch.
LAST YEAR AT MARIENBAD interrogates cinematic past and historical past in equal measure, through an emphasis on formal traits that suggest both as constructions and constantly in flux. The cinematic image – sometimes static, sometimes mobile, often a variance of these – operates immediately as past, as the image leaves one’s retina, becoming something that “has been seen,” not that which “is being seen.” Alain Resnais’s film conjures this sense through having images appear and disappear in less than a second – not even 24 frames of film, in some cases. Additionally, color plays an important role; make note of a scene nearly 40 minutes in, when the two unnamed characters are conversing in a darkened bar. Resnais intercuts an…
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…