Resnais presents time in a circular fashion — past, present and future looping into each other.
However, later on I came to realise that it was not my wife at all, but rather her sister with whom I had had sex.
In Hiroshima mon amour linear construction is abandoned; storytelling is circular and unresolved.
Hiroshima mon amour grew from a commission to make a documentary short about the atomic bomb, but Resnais found this an impossible task — how can one make a documentary about Hiroshima, the impossibility of speaking the unspeakable, imagining the unimaginable? Established in Melbourne Australia in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet.
For all its weighty ideas, Hiroshima mon amour is also a deeply intimate film.
Its much-lauded opening scene stands as a testament to Hiroshima, the city, rebuilt after the cataclysm of the war, but unable to escape its past.
The fictional love story he uses to frame Hiroshima mon amour enabled Resnais to present a more universal inquiry into the nature of suffering and remembrance.
The repetition of dialogue affects this familiarity, as does the framing of shots at angles and distances that trap us within the frame.