Runtime: 1 hr 34 mins
Synopsis: In Alain Resnais's masterwork, L'ANNÉEE DERNIÈRE À MARIENBAD, each fantasy-laden, heavily dramatized, aesthetically perfect scene is dictated by the memories of a man (Giorgio Albertazzi), who is one of many elegant, aristocratic guests vacationing at the enchanting resort,... [More]
Genre: Foreign Films
Starring: Delphine Seyrig, Giorgio Albertazzi, Sacha Pitoeff
Fascinating, perplexing and infuriating in equal measure, this spectacular example of dreamlike filmmaking deserves to be approached with an open -- or opened -- mind. Every aspect is ambiguous, but the rewards are there.
Top Critic
Obscure, oneiric, it's either some sort of masterpiece or meaningless twaddle.
Top Critic
Love it or hate it, no one's cinematic education is complete without having taken this baffling, haunting, uniquely challenging movie ride.
To even talk of a story is nonsensical, since a central aesthetic of the film involves the effects of fantasy, time and subjective memory on human consciousness. Marienbad takes place in a heightened, sci-fi nightmare world where knowing, believing
A daring experiment that succeeds not only in shattering familiar forms but in providing an apt shape for its unique story.
What finally dazzled me about the film is the way that Resnais cleverly put together a 94-minute film without ever taking a stand on any single thing; every single shot, detail, story, and character is suspect -- and subject to change without notice.
Marienbad is elegantly hermetic, a ravishing waxworks that has stillness at its heart.
Marienbad's fluid reality is almost like cyberpunk before there was cyberpunk.
Remains one of cinema's glorious enigmas, endlessly compelling and intriguing.
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Consistent with his other great works, Marienbad transcends reality. Resnais’ projects haven’t aged because they defy time.
The movie is what it is -- a sustained mood, an empty allegory, a choreographed moment outside of time, and a shocking intimation of perfection.
The film's dreamlike cadences, frozen tableaux, and distilled surrealist poetry are too eerie, too terrifying even, to be shaken off as camp. For all its notoriety, this masterpiece among masterpieces has never really received its due.
The real star of the movie is Sacha Vierny, whose pristine, symmetrical, black-and-white widescreen compositions rank with the great achievements in cinematography.
Leading the viewer up more than one garden path and forever haunting the corridors of the mind, this perplexing enigma is a labyrinth of chillingly perfect construction.
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