CALIFICACIÓN DE IMDb
7.6/10
26 k
TU CALIFICACIÓN
En un extraño y aislado palacete, un hombre conoce a una mujer e intenta convencerla de que se ya se habían conocido antes.En un extraño y aislado palacete, un hombre conoce a una mujer e intenta convencerla de que se ya se habían conocido antes.En un extraño y aislado palacete, un hombre conoce a una mujer e intenta convencerla de que se ya se habían conocido antes.
- Nominado a 1 premio Óscar
- 2 premios ganados y 5 nominaciones en total
Karin Toeche-Mittler
- Un personnage de l'hôtel
- (as Karin Toche-Mittler)
Davide Montemurri
- Un personnage de l'hôtel
- (as Davide Montemuri)
Alan Edwards
- English Introduction
- (sin créditos)
- Dirección
- Guionista
- Todo el elenco y el equipo
- Producción, taquilla y más en IMDbPro
Opinión destacada
Cinema has, for the most part, been a relatively conservative art form. Perhaps it's the expense of making a feature film which has meant that they largely remain within limits and conventions imposed by commerce. Often those willing to experiment have been forced to work with low budgets and poor production values, and those regarded as more radical directors often have a very traditional approach to narrative.
But then there's Last Year in Marienbad. Robbe-Grillet was the leading light and main theorist of the nouveau roman, and already had masterpieces like In the Labyrinth and Jealousy behind him. His literary style is obsessed with visual description, meaning the jump to cinema was an obvious one. And he did it utterly without compromise.
Not that all the credit goes to Robbe-Grillet's scenario: Resnais' realisation of the ideas is near perfect, and Vierny's photography is a thing of wonder, creating a film of unique beauty.
It's possible just to sit back and enjoy it as a sumptuous treat, but there's a nagging feeling that you have to figure out what it all means. You just have to try to analyse it. Amongst all the repetitions of the dialogue, a phrase suddenly jumps out, that seems to be a key to crack the enigma, or is it just a red herring. Maybe next time I watch it, I'll crack it...
Apparently Andre Breton was one of the first to see it, and (understandably?) hated it. For all it's dreamlike atmosphere, this is fiercely structured, a game, but quite distinct from surrealism's Freudian games of chance. For Foucault and Deleuze, Robbe-Grillet's endless, inescapable mazes were paradoxically a route out of the prevailing existentialism and post-Marxism of the French intellectual elite.
A genuinely original film, showing the true potential of cinema, a challenge few since have had the courage to follow.
I need to watch it again...
But then there's Last Year in Marienbad. Robbe-Grillet was the leading light and main theorist of the nouveau roman, and already had masterpieces like In the Labyrinth and Jealousy behind him. His literary style is obsessed with visual description, meaning the jump to cinema was an obvious one. And he did it utterly without compromise.
Not that all the credit goes to Robbe-Grillet's scenario: Resnais' realisation of the ideas is near perfect, and Vierny's photography is a thing of wonder, creating a film of unique beauty.
It's possible just to sit back and enjoy it as a sumptuous treat, but there's a nagging feeling that you have to figure out what it all means. You just have to try to analyse it. Amongst all the repetitions of the dialogue, a phrase suddenly jumps out, that seems to be a key to crack the enigma, or is it just a red herring. Maybe next time I watch it, I'll crack it...
Apparently Andre Breton was one of the first to see it, and (understandably?) hated it. For all it's dreamlike atmosphere, this is fiercely structured, a game, but quite distinct from surrealism's Freudian games of chance. For Foucault and Deleuze, Robbe-Grillet's endless, inescapable mazes were paradoxically a route out of the prevailing existentialism and post-Marxism of the French intellectual elite.
A genuinely original film, showing the true potential of cinema, a challenge few since have had the courage to follow.
I need to watch it again...
- neil-313
- 31 jul 2005
- Enlace permanente
Argumento
¿Sabías que…?
- TriviaThe match game in the movie is named as "Nim". In order to win the game there is only one tactic including a system called "Nim Sum". If both players use this tactic perfectly, then the owner of the first move will eventually lose. Due to the same reason, it is always disadvantageous to start the game first.
- ErroresExterior night scenes were shot day-for-night, but the sky and reflections of it were allowed in the frame, and they appear as bright white instead of black. This may have been intentional to emphasize the surreality of the film.
- Citas
[X wanders through the hotel's corridors cataloging items he sees]
X: Empty salons. Corridors. Salons. Doors. Doors. Salons. Empty chairs, deep armchairs, thick carpets. Heavy hangings. Stairs, steps. Steps, one after the other. Glass objects, objects still intact, empty glasses. A glass that falls, three, two, one, zero. Glass partition, letters.
- ConexionesFeatured in Fejezetek a film történetéböl: A francia új hullám (1990)
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- How long is Last Year at Marienbad?Con tecnología de Alexa
Detalles
- Fecha de lanzamiento
- Países de origen
- Sitio oficial
- Idioma
- También se conoce como
- Last Year at Marienbad
- Locaciones de filmación
- Productoras
- Ver más créditos de la compañía en IMDbPro
Taquilla
- Total en EE. UU. y Canadá
- USD 207,917
- Fin de semana de estreno en EE. UU. y Canadá
- USD 15,485
- 20 ene 2008
- Total a nivel mundial
- USD 223,111
- Tiempo de ejecución1 hora 34 minutos
- Color
- Mezcla de sonido
- Relación de aspecto
- 2.35 : 1
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Principales brechas de datos
What is the Canadian French language plot outline for El año pasado en Marienbad (1961)?
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