Enclosed in a small space, the tone is quite stuffy. Perfect photography, perfect black and white. Unlike Rohmer, Resnais uses the state of the structure of life to construct his films. A situation is abstracted from a time and scene without a background, and a choice is extended. The obscure deep desire is the driving force and clue, and the dialogue and details are the material. It can be criticized as an irresponsible film because of the rude combination of intuitive empty shots and dialogue language. A form of writing between psychoanalysis and stream of consciousness—part of the psychological and conscious concept prototypes and stream-of-consciousness writer-like character dialogues construct the content and time flow of the film. Eisenstein had preached that he could use montage to make Das Kapital into a movie; Resnais actually accomplished something similar with long takes and mise-en-scene. Similar to "Hiroshima Love", many directors have been making the same movie all their lives, which is not unreasonable. In my impression, some aspects have something in common with Pasolini's films, but the elements of sexuality and violence in Pasolini's films have drawn everyone's attention to the core and techniques, and the blunt structural semiotics discussion is more used. Ethical debate instead; but Resnais's is different, with no noticeable sensory stimulants, so it's a smug film - except photography.
Again, perfect cinematography, very different from the rest of the film. The basic skills of black and white tones are naturally the foundation, and the dark tones are extremely rich. There are dozens of different angles to show a statue, and each one gives people a very different feeling. There's not a shred of superfluous camera movement. Style from start to finish. Worship...
ps In fact, making a film that is not boring in a relatively claustrophobic space is an almost "impossible task" in itself, similar to "cube" and "dogville", like a scene that cannot be changed The stage play of the set is too difficult, but Hitchcock ("rope") seems to have done it with ferocity. . . -_-. . .
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Last Year at Marienbad reviews
