Cover of Alain Resnais L'anno scorso a Marienbad
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For fans of avant-garde cinema, critics of french art films, cinephiles interested in experimental movies, and viewers seeking honest film appraisals.
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THE REVIEW

A sort of charade for insiders.

PRETENTIOUS AND PRESUMPTUOUS LIKE ALMOST ALL FRENCH FILMS, ESPECIALLY THOSE BY INTELLECTUAL CRITICS WHO, BORED WITH WRITING, TOOK UP FILMMAKING.
AS IF TO SAY: IF WE HAVE TO GO AND WATCH AND REVIEW OTHER PEOPLE'S GARBAGE, LET'S PRODUCE IT OURSELVES!

The film is cold and unnecessarily intellectual.
Moreover, it has no development, even though it pretends to have one.
From start to finish, allusions reign and the actors move on the scene like puppets.
Has our hero read anything by Strindberg?
The slowness is exasperating, the mannerism unbearable, the seriousness ostentatious, the words go to the wind, and the senseless preciosity.
Experimental film, like almost all of Resnais's works - a half-tragedy for cinema, which is movement, at least of ideas - and certainly among the worst for emblematic expressive choices.
A perverse game, made of useless erudition, distant from any cultural process.
A sort of charade for insiders.
An encrypted code for bored intellectual snobs and cinephile snobboni.

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Summary by Bot

The review condemns Alain Resnais' film as pretentious and cold, criticizing its slow pace and lack of genuine narrative development. The film is described as an insufferable, overly intellectual experiment that alienates viewers. It portrays actors as puppets in a dry, erudite display meant only for snobbish insiders. The reviewer finds the film distant from meaningful cultural or cinematic progress.

Alain Resnais

Alain Resnais was a French film director associated with the French New Wave and Left Bank group, noted for innovative narrative structures and explorations of memory and time.
05 Reviews

Other reviews

By Valeriorivoli

 This movie is a non-film, perhaps more akin to a hallucinatory videoclip avant la lettre.

 Masterpiece of filmic oneirism, an editing so meticulous and at the same time idiosyncratic as to seem the prototype of the anti-film.


By Giordano

 If you let yourself be drawn into the film, you no longer know what to think, you no longer know what to do, you no longer know what happened before.

 The film is irresistible and you fall in love at first sight, as happened to me.