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…
films like last year at marienbad exist solely to make me feel like a simpleton and question my love of film.
Truly a film like no other, Alain Resnais's controversial, notoriously confounding LAST YEAR AT MARIENBAD unfolds like a dream, as a man referred to as "X" (Giorgio Albertazzi) confronts a woman referred to as "A" (Delphine Seyrig) by telling her that they met and fell in love last year and made plans to meet again now, only she doesn't appear to remember any of it (or does she?)
All of this takes place on the grounds of an enormous, elegant hotel that feels like a ghostly other dimension, and the camera glides through its long, empty, ornate hallways with the same eerie grace as Kubrick's Steadicam in THE SHINING.
I found LAST YEAR AT MARIENBAD mostly fascinating and distinctly unsettling,…
A movie I like more in concept than execution. I was really on its level for the first twenty minutes when I figured I was halfway through and then I saw I was only twenty minutes in and went "uh oh"
An exquisite, mesmerising, hypnotic and haunting film from Alain Resnais. 'Last Year at Marienbad' is a hugely influential, one can see how Christopher Nolan was inspired by it in making 'Inception' and Stanley Kubrick in 'The Shining'. The film is a puzzle that plays with memory and dreams, that is shot and edited to give the impression that we are out of time and place, this is neither here nor there, rather a limbo where mostly all the characters in the background are merely projections created from the mind of our two central characters. The film's technical merits really help to create a sense of unease and the film's score also works in providing a haunted backdrop to the film.…
Instead of immediately writing a review for Last Year At Marienbad, I decided to let the movie marinate in my mind. Marienbad is film at it's most enigmatic and experimental and I wasn't quite sure I responded to it. As the day wore on, however, I found myself thinking of nothing but this movie. It's resplendent visuals and loose structure had intoxicated my mind. it was then that I realized maybe I did respond to this movie but not in an emotional way. Suffice to say, I now consider this an excellent film. It's so well constructed and technically flawless, allowing it's experimentation to work so well. This is a film less about a plot, story, or theme and more about what film can do and achieve outside the accepted boundaries of structure. In that sense, it's a meta-film experience; a film commenting on film.
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.
Recently, I've become aware that certain films are able to transcend the medium by being completely self-assured in their atmospheres…