Hiroshima, mon amour

by Alain Resnais, France, 1959
Picture of

Hiroshima mon amour concerns a series of conversations or one enormous conversation over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as Her, and a Japanese architect (Eiji Okada), referred to as Him. They have had a brief relationship and are now separating. The two debate memory and forgetfulness as She prepares to depart, comparing failed relationships with the bombing of Hiroshima and the perspectives of people inside and outside the incidents. The early part of the film recounts, in the style of a documentary but narrated by the so far unidentified characters, the effects of the Hiroshima bomb on August 6, 1945, in particular the loss of hair and the complete anonymity of the remains of some victims. He had been conscripted into the Imperial Japanese Army, and his family was in Hiroshima on that day.

Festivals & awards

Cannes 1959

New York Film Critics Award 1960: Best Foreign Language Film

Etoile de Cristal fĂĽr Emmanuelle Riva als beste Schauspielerin

Prix Mélies der Association Française de la Critique de Cinéma

United Nations Award 1961

Oscar-Nomination 1961 fĂĽrs beste Originaldrehbuch (Marguerite Duras)

artwork

Credits

Original Title
Hiroshima, mon amour
Title
Hiroshima, mon amour
Directed by
Alain Resnais
Country
France
Year
1959
Screenplay
Marguerite Duras
Film Editing
Jasmine Chasney, Henri Colpi, Anne Sarraute
Soundtrack
Georges Delerue, Giovanni Fusco
Cinematography
Takahashi Michio, Sacha Vierny
Sound
Pierre-Louis Calvet, René Renault
Costumes
Gerard Collery
Production Design
Minoru Esaka, Mayo Petri, Lucilla Mussini
Production
Anatole Dauman, Samy Halfon
Formats
Blu-ray, DCP
Runtime
90 min.
Language
Französisch, Japanisch/d
Cast
Emmanuelle Riva (Elle), Eiji Okada (Lui), Stella Dassas (mère), Pierre Barbaud (père), Bernard Fresson (L'allemand)

Pro Material

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Press voices

«Resnais erschloss durch eine in dieser Folgerichtigkeit noch nie angewendete Konzeption dem Film Ausdrucksmöglichkeiten, wie sie bisher dem modernen Roman vorbehalten schienen. (...) Die Verklammerung von realem und imaginärem Erleben, von Gegenwart und Vergangenheit kommt in ihrer autonomen Struktur, als fotografiertes Bewusstsein auf die Leinwand.»

Gregor/Patalas: Geschichte des Films