All the films from all the editions, including those subsequently removed, presently totalling 1177. 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.
won't be surprised if I have
like eleven nightmares tonight.
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…
'El año pasado en Marienbad' es la película enigma definitiva. Todo el conocimiento que se desprende del relato es parcial, semioculto tras capas y capas de no se sabe bien qué. Inasible más allá de la sensación; imposible de definirse entre el sueño, la pura fantasía, el delirio, el metacine. Él (el hombre, X) no puede dejar de narrar y narrar(se), pero su relato topa con la falta de memoria, de referencias, incluso con la pura incomprensión, de ella (la mujer, A). Como si la película tuviera una lógica onírica que no puede verbalizarse, como un sueño que tiene todo el sentido en el mundo onírico pero que lo pierde cuando se intenta poner en palabras.
Puro ‘fantastique’, la película…
won't be surprised if I have
like eleven nightmares tonight.
I haven't seen a movie this strange or been challenged by a director this much since I watched David Lynch's Eraserhead. I don't really know how I feel about it but I do know it's brilliant in its execution. Absolute eye candy from a technical point of view and I can't wait to watch it again.
An completely indulgent film from director Alain Resnais.
“Last Year…” is the story of an encounter told in stream of consciousness form - repetitive, choppy, etc. While an interesting exercise, the film is frustrating much of the time but I appreciated the artistry. Blur’s “To the End” video is an homage to “Last Year…” but a very sanitized one.
Is she dead?
In which Christopher Nolan stalks Jackie-O around a mind palace whilst Lurch looks dispassionately on.
At one time I held Alain Resnais' celebrated head-scratcher as the ultimate example of art film "pretension". Considering that I've long since come to appreciate, and even outright love, filmmakers whom I once considered daunting and impenetrable (late Godard, Peter Greenaway) I figured it was time to give this infamous enigma another shot. Well, I can now understand both why the film is so important and acclaimed, and exactly what I didn't like about it the first time. I still can't say that I'm particularly enthralled with it, but I can at least concede that it's kind of impressive.
What I once called "pretension" I would now merely call "self-importance". The film isn't really pretentious per se because I don't…
This is a movie for few occasions and I'm not clear on what those are. It's one that will frustrate many, including those who appreciate it. Reading Ebert's review softened me on it, but also made me wish I'd seen it in college and had a chance to ruminate on it with some friends over beer and nachos.
Marienbad is arguably one of the most pretentious movies I've ever seen, but then for there to be pretension, Alain Resnais would have to have wanted me to perceive it as more than it was. I have no evidence of that, so maybe not.
No matter how many stars I give it here, I'll go away feeling that I was wrong.
It's on both lists "1001 Movies You Must See Before You Die" and "The Fifty Worst Films of All Time (And How They Got That Way)".
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…
Every film that has ever been nominated for an Academy Award in any category. Enjoy!