(Working on organizing it by similar aesthetic.)
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…
Nouveau roman : abandon de la narration.
Très Robbe-Grillet : matrice de ses films à venir.
Atmosphère. Langueur. Ennui.
Comme une image qui se dilate dans le temps.
Un film archétypal, creuset d'inspirations.
Une scène : le film.
Six-o-meter : 2/6
Resnais' use of unoriginal text is invariably stunning, a fact you'll find in both this film and Hiroshima, Mon Amour. Both texts are enigmatic in nature, and is designed more for the sake of poetry than for convenience. Similarly both films explores the fragility of memory over time, this film a little bit more so though. Delightfully enigmatic and stunningly beautiful, shots of this hotel, it's park and it's people are presented as a story plays out while it's being told, or remembered. I would rid myself of all expectations of meaningfulness before watching this, not that I did the first time I watched this film, but I think it can be enjoyed more that way.
A man tries to convince a woman that they have met before a year earlier. It's incredible how a filmmaker like Resnais can make a simple narrative like that flow like sweet, sweet poetry. Perhaps it's because of the dream-like, surreal atmosphere of the chateau and the labyrinth of gardens that surround it. The film itself is like a dream---a labyrinth where you will lose yourself and wonder whether the images that fill your eyes are the characters' dreams or realities. Perhaps it's because of the lines and the music that are repeated over and over again, evoking the same emotions, yet painting a different picture every time. But in the end, just like what the male protagonist says all…
I don't know how to feel about this....
The photography/costumes were beautiful tho
Not my favourite new wave film but definitely one of the most interesting ones. It's a great example of how film can be used as a medium to do things no other format would allow. The way Resnais structures it makes it feel like an ambiguous memory, which meant that after the first half hour so I gave up with worrying about whether they hadn't or hadn't actually met. I don't believe that's the point of it, and I don't believe there is an objective answer. For me, the whole point of this film lies in that subjectivity, and it focuses a lot more on personal experience and memory than it does on objective truth. Both stories are equally true…
This is a movie with a very creative and haunting visual style and it has a narrative filled with interesting ideas. That should be a perfect mix, but unfortunately I it felt to me like the creative visuals didn’t really compliment the creative story all that well and vice versa. Of the two elements I probably liked the visuals better, the way Resnais films the hotel this takes place in a beautiful and haunting, I have a hunch that this was an inspiration for the way Kubrick filmed The Shining. However, I’m not sure that this slow, sterile, and artful style was really a good choice to convey the talky, passionate, and emotional story at the center of it all. The whole thing was generally very slow, I got an Antonioni vibe from the whole thing and that is not a compliment.
The world's longest most beautifully shot perfume commercial. Hopelessly meandering.
Hypnotic, enigmatic, and dripping with atmosphere, Last Year at Marienbad is one of the most accomplished pieces of filmmaking I have ever seen.
Difficult European art film alert! ‘L'Année dernière à Marienbad is a beautiful enigma that has divided viewers from day one. I always plan to watch it again after a first viewing blew me away, but I also want to cherish it like a half-remembered dream (I really have forgotten the clue of the story.) Director Resnais and writer Robbe-Grillet knew exactly what they were doing: making the most ambitious, complex and out-there film they could think of. ‘L'Année dernière à Marienbad looks opulent and will probably remain a benchmark of experimental film that refuses to cater to the iron laws of conventional narrative.
All the films from all the editions, including those subsequently removed, presently totalling 1177. An easy way of seeing how…
not like stupid/dull, but as in movies that are so insanely packed with things and ideas and visuals they become…