Hiroshima Mon Amour

"Hiroshima Mon Amour" will always be too studied a masterwork for some tastes. But Riva's performance, chief among its triumphs, remains electrifying.

That rare movie in which present and past meld in every frame to convey a sense of time obliterated, or a dream having a nightmare.

The first film to juxtapose disastrous erotic passion with the political disasters of the mid century.

Although it presents, on occasion, a baffling repetition of words and ideas, much like vaguely recurring dreams, it, nevertheless, leaves the impression of a careful coalescence of art and craftsmanship.

Integrating past and present, poetic images and documentary footage, music and Marguerite Duras' dialogue, the film achieved a structural balance of such emotional and intellectual power that audiences were stunned.

Over 50 years later, HMA is still aesthetically bold, yet somehow Resnais's radical stylistic shifts are never jarring, rather feeling like they are part of a cohesive whole.

Exquisitely beautiful and harrowing meditation on war and love.

...effortlessly moves us between past and present, personal and political.

A most chic Guernica, sumptuously abstract and visceral

a particularly compelling and fascinating film, one that has endured well beyond its importance in throwing open the gates to a new era in French cinema

If "Hiroshima, Mon Amour" is best enjoyed for its place in film history, its tragic love story and its haunting black-and-white cinematography, that still makes it a veritable must-see.

The facticity of the film itself is continually called into question by Alain Resnais's decision to blur the boundaries between nonfiction and fiction films.