“The image is always in the present tense.”-Alain Robbe-Grillet, author, Last Year at Marienbad
The contemporaneity of memory is a theme that haunts, as it informs, every Alain Resnais film. This great modernist director's obsession with time and how the past lives in the present can be traced in the hauntingly beautiful montages, searching camera, and musical language of films like Last Year at Marienbad, Muriel, and Je t'aime, je t'aime, all collaborations with major writers. Resnais has always played with cinema, and so transformed it. What was Marienbad but a giant gameboard? With Mon oncle d'Amérique Resnais began to make the game-“to allow theory and fiction to coexist on the screen”-more explicit, and by Mélo, the first-rate cast who were becoming his stock company were playing along with him. Looking backward and forward across Resnais's decades-long career, this series offers an exhilarating and unforgettable adventure in the cinema of ideas, and in the idea of cinema.