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.…

Alienation: "a withdrawing or separation of a person or a person's affections from an object or position of former attachment," as the Merriam Webster dictionary defines it. The same source also defines the term "dream" as: a state of mind marked by abstraction or release from reality. Both terms' meanings carry an apt description that fits so perfectly well when talking about Alain Resnais's Last Year at Marienbad, for only one viewing can boggle the mind that one won't even know where to begin when talking about the sort of wonder it creates. But I've already watched Last Year at Marienbad numerous times and I'm still left with that befuddling emotion although I know deep down that it truly is…

In a hotel that is more like a mansion, in those empty corridors, people became statues, he met a woman, roaming every corner, discussing life and love, the heartbreak that followed a year after when he met her again, only to know she doesn't remember him or the time they spent or the place.

Voices echo, that begin to fell like a mere constant thing that had to be adhered. Retracing every even that occurred, every step she took, her right hand that she placed slowly on that wall, looking at him, standing still, not a word to be uttered. Still made him feel like everything in the world.

A conversation that he interrupted, just an opinion, but for her…

No movie demanded quite the measured, focused approach in a film studies education as Alain Resnais' French New Wave touchstone Last Year at Marienbad. This analysis was less interested in what the film is about, per se--perhaps a man (Giorgio Albertazzi) and a woman (Delphine Seyrig) meet in a sprawling estate to reignite an affair--but rather, the film as an expression of Lacanian psychoanalysis. A work of pure geometry, Last Year at Marienbad is so labyrinthine that the illusion of a plot is a sort of feint. But, is there anything real in the film, any merit to the experiences of the characters that isn't created through disorienting match cuts and the disintegration of time? The delicately balanced gray scale…

"Listen to my grievance. Enough of this role, this silence, these walls, these whispers you've made my prison. These silences to which you confine me are worse than death. These days we spend here side by side are worse than death. We're like coffins buried side by side in a frozen garden. A garden of reassuring order, with clipped hedges and geometric paths, where we stroll with measured steps, side by side, day after day, at arm's length, never closer."

"You were with a group of friends, chance acquaintances. People I hardly knew, and perhaps you knew them no better. I was watching you. It struck me that none of these people knew who you were, that I alone knew.…