This set of two essential films is light on meaningful supplements, but high on quality cinema.
The film works best when it focuses viewer attention most acutely on the story, deflecting it away from the director’s manipulations.
Perennial modernist Alain Resnais enters old-man-cinema territory with grace and style.
As he grew older, Alain Resnais revealed the wistful sentimentalist behind the formalist pathfinder of Hiroshima Mon Amour and Muriel.
Alain Resnais’s Gallic transposition of British playwright Alan Ayckbourn’s Private Fears in Public Places is a masterful trifle.