last year in marumba

Delia 2022-03-23 09:02:48

Last Year at Marienbad

Last Year at Marienbad

The dullness of this film is that the constant repetition of dialogue makes the plot feel as impatient as it spins in place. The heroine's pretense goes too far, I don't know if this is the norm in the 1960s, or it's the heroine's own special way of interpreting it, which is puzzling.

The amazing thing about this film is that it transcends the intertwining of the present and the past, and achieves the coexistence of the virtual and the real. Memories and reality merge. The male protagonist turns on the hypnotic mode to pick up girls throughout the film. The sentences are repeated to the point of outrageous, like babbling. In addition, the music with strong tension often appears in a way that escapes and without warning. In the 100 minutes, I felt more than once that this was clearly a horror film that crossed Chencang in the dark. In order to achieve this narrative style, the film develops amazing scene scheduling and camera movements, resulting in a shocking image style that I have never seen before.

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Last Year at Marienbad short comments

  • Donnell 2022-03-20 09:02:23

    The pursuit of formal and fragmented sound and picture effects creates a sense of alienation. The sense of space created by a large number of camera movements, tirelessly repeating reality, breaks the illusion of the integrity of the real world. The continuous appearance of metaphors such as mirrors and sculptures seems to be to prove that the film creates a fuzzy space different from the narrative space and the psychological space, in which memory and desire are intertwined in a disorderly manner.

  • Van 2022-03-18 09:01:05

    The film that Renai and Grillet collaborated with has obvious author's film characteristics. It has an interesting discussion on the boundary and interaction between fiction and reality. At the same time, it can also be seen as an exploration of memory and historical authenticity. In this sense, memory has the possibility of self-reconstruction under external/internal cues, and history is also reshaped. In the process of continuous interpretation, the truth of things begins to become vague and ambiguous. The so-called truth is just inference.

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Last Year at Marienbad quotes

  • [X wanders through the hotel's corridors cataloging items he sees]

    X: Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.

  • X: I must have you alive. Alive, as you have already been every evening, for weeks, for months.

    A: I have never stayed so long anywhere.

    X: Yes, I know. I don't care. For days and days. Why don't you still want to remember anything?

    A: You're raving! I'm tired, leave me alone!

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