All the films from all the editions, including those subsequently removed, presently totalling 1187. 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…
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…
'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…
Last Year in Marienbad: A Film as Art (Kunsthalle Bremen, Nov2015-Mar2016, curator C. Grunenberg) // E. Atget (photos of empty gardens and parks of the Ancient Régime in Versailles and Saint-Cloud) / paintings by P. Delvaux, G. de Chirico, R. Magritte / Eaux d’artifice (K. Anger, 1953) / Slow Angle Walk – Beckett Walk (B. Nauman, 1968), The Red Tapes (V. Acconti, 1977) / On a Stormy Night AKA Aus einer Sturmnacht (poem by R. M. Rilke) – memorabilia of Volker Schlöndorff (assistant director) / J. Mekas: commercial+experimental (in the footsteps of M. Deren) // Hotel for Strangers (A. Máša, 1967), book: A House Far Away AKA Dům daleko (V. Linhartová, 1968), video installation: Reflection AKA Odlesk (J. Mančuška)
what the hell is anyone talking about? what the fuck? it doesn't make sesne lol. what are they saying? what does it mean
single worst film watching experience I've ever had
this movie is trash
What a fucking nightmare
boy oh boy if I was a cinematographer this would be my bible
I know it is technically good, but no matter how good the technique is, it does not change the fact that I checked my watched every 5 minutes to see how much more I had to sit through
I have never seen an audience point-blank reject a movie like Film Theories class did today lmfaooooooooo
[screened a year to the date after initial viewing]
When I think of this film now, I just can't help but appreciate the audacity, visionary, and prophetical efforts that Resnais produced.
Such an artistic presence; best watched with complete intensity. Ultimately, it has theme of escaping solipsism, trying to escape societies boundaries, but alas, unable to; being trapped in our own minds, and dreams.
Interestingly, released a year after L'Avventura.
This was the time when unconventionality ruled.
For me, this is truly, otherworldly art.
Really noticed the organ this time, all the time. Very important.
I want you all to vote on what you think are the greatest films of all time!
This is going…
Movies That, As Much As It Pains Me To Say It, Really Are As Amazing As Literally Everyone Else Has Said
aka my most normie opinions, aka the movies that are so commonly cited as one of the best movies ever…