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Marguerite Duras

Hiroshima Mon Amour

The award-winning screenplay for the classic film the New York Post hailed as “overwhelming . . . a motion picture landmark.”
One of the most influential works in the history of cinema, Alain Renais’s Hiroshima Mon Amour gathered international acclaim upon its release in 1959 and was awarded the International Critics’ Prize at the Cannes Film festival and the New York Film Critics’ Award. Ostensibly the story of a love affair between a Japanese architect and a French actress visiting Japan to make a film on peace, Hiroshima Mon Amour is a stunning exploration of the influence of war on both Japanese and French culture and the conflict between love and inhumanity.
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    Yatzel Roldáncompartió su opiniónhace 3 años
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    Helen Vechurkocompartió una citahace 6 años
    Theirs is a one-night affair.
    But where? At Hiroshima.
    Their embrace—so banal, so commonplace—takes place in the one city of the world where it is hardest to imagine it: Hiroshima. Nothing is “given” at Hiroshima. Every gesture, every word, takes on an aura of meaning that transcends its literal meaning. And this is one of the principal goals of the film: to have done with the description of horror by horror, for that has been done by the Japanese themselves, but make this horror rise again from its ashes by incorporating it in a love that will necessarily be special and “wonderful,” one that will be more credible than if it had occurred anywhere else in the world, a place that death had not preserved

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