Last Year at Marienbad (1961)

 

Jules: Alain Resnais’ and Alain Robbe-Grillet’s L’année dernière à Marienbad has astonished viewers for six decades and counting. Who, or what, are ‘A – la femme brune’ (Delphine Seyrig), ‘X – l’homme à l’accent italien’ (Giorgio Albertazzi, and ‘M – l’autre homme au visage maigre, le mari’ (Sacha Pitoëff), and is this landmark of world cinema merely a film, or an initiatory experience akin to a rite of passage?

David: This film, both modern in its experimentation and postmodern in its self-reference, provides a meandering dream-like experience of unresolved narrative, unanswered questions, effects divorced from causes and a frustrating, potentially infuriating trap for the unwary viewer.

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