Last Year at Marienbad

To even talk of a story is nonsensical, since a central aesthetic of the film involves the effects of fantasy, time and subjective memory on human consciousness. Marienbad takes place in a heightened, sci-fi nightmare world where knowing, believing

Marienbad is elegantly hermetic, a ravishing waxworks that has stillness at its heart.

Remains one of cinema's glorious enigmas, endlessly compelling and intriguing.

The movie is what it is -- a sustained mood, an empty allegory, a choreographed moment outside of time, and a shocking intimation of perfection.

The film's dreamlike cadences, frozen tableaux, and distilled surrealist poetry are too eerie, too terrifying even, to be shaken off as camp. For all its notoriety, this masterpiece among masterpieces has never really received its due.

Obscure, oneiric, it's either some sort of masterpiece or meaningless twaddle.

[VIDEO ESSAY] Alain Resnais's transcendent filmic parlor game remains an innovative and exquisitely executed example of minimalist filmmaking, used to evoke mystery, romance, and a sprinkle social invective.

The poster child of cinematic modernism, one of those early-'60s event films that seemed to break every rule classical Hollywood ever codified.

I've always found it romantic and sexy, full of yearning and mystery.

Was there ever a film thought so boring by so many yet accorded the status of a classic?

Profoundly mysterious and disturbing, a para-surrealist masterpiece whose nightmarish scenario appears to have been absorbed from Buñuel and Antonioni and transmitted onward to Greenaway.

an enigmatic mind-melt that sends characters and viewers alike on a chronology-confounding loop down labyrinthine corridors and up garden paths in pursuit of a (re)solution that, even after it has been found, remains elusive and ambiguous.