Alain Resnais’s Muriel, or The Time of Return, the director’s follow-up to Last Year at Marienbad, is as radical a reflection on the nature of time and memory as its predecessor. The always luminous Delphine Seyrig stars as an antique shop owner and widow in Boulogne-sur-Mer, whose past comes back to haunt her when a former lover reenters her life. Meanwhile, her stepson is tormented by his own ghosts, related to his service in France’s recently ended war in Algeria. Featuring a multilayered script by Jean Cayrol and inventively edited to evoke its middle-class characters’ political and personal realities, the fragmented, emotionally powerful Muriel reminds viewers that the past is always present.
With his lush and sensual visuals, pitch-perfect soundtracks, and soulful romanticism, Wong Kar Wai has established himself as one of the defining auteurs of contemporary cinema.
Four charming comedies from Eric Rohmer.
“No one sees anything. Ever. They watch, but they don’t understand.” So observes Connie Nielsen in Olivier Assayas’s hallucinatory, globe-spanning Demonlover, a postmodern neonoir thriller and media critique in which nothing—not even the film itself—is what it appears to be.
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