When she received a marble in the basement (I don't know if this refers to an atomic bomb), this transfer may be an opportunity, and her other consciousness reached the strongest. Hiroshima triggered her hidden consciousness, she wanted to forget this man, and more importantly, to forget the painful memory that was revived in Hiroshima (probably she did it intentionally, or subconsciously, as she dreamed of Nevel), Forget the real damage that victory cannot cover up.
I remember that Duras always likes to mix first and third person in Lover. In the film, the confusion of subject and object in the statement, the breaking of this constraint makes some emotions that are difficult to express to be realized. The desire to create a purely objective environment in which to instill strong subjective feelings with full credit...then I'd say there's no better way to do it than film.
About narrative. My take is that it's a pretty neat linear narrative by and large. There is no such thing as a flashback. The reason is this: those pictures of Nevel are the fragments of consciousness that existed in women's heads at the time, just like the fragments we see in hospitals and museums when they have sex. It's like we get a glimpse of her brain when they are having sex or talking in a coffee shop, and we get these pictures, which are really faithful to the description of consciousness and emotion. Isn't that how the name stream of consciousness is understood?
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