French film director (1922-2014)
He made films that fold time back on itself — memory unreliable, past and present bleeding together, narrative chopped and shuffled until consciousness itself becomes the subject. Hiroshima mon amour and Last Year at Marienbad rewrote what a movie could do to a viewer's sense of what's real.
Alain Resnais trained as a film editor in the mid-1940s, then spent a decade directing short films before Night and Fog in 1956 — a documentary about Nazi concentration camps that became a reference point for how to show atrocity. He moved to features in the late 1950s, pulling in novelists like Marguerite Duras and Alain Robbe-Grillet who'd never written for cinema, and together they built Hiroshima mon amour, Last Year at Marienbad, Muriel, and Je t'aime, je t'aime — films that cracked open chronology and made troubled memory the architecture. Linked to the Left Bank group more than the New…
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