Love Unto Death
RIP Alain Resnais. We have one more film from the master to look forward to, AIMER, NOIRE ET CHANTER, (love, drink and sing) based on Alan Ayckbourn’s play THE LIFE OF RILEY. Suddenly, Resnais’s titles have a posthumous sound. But also the sound of a man who loved life and movies. LOVE UNTO DEATH. LA VIE EST UN ROMAN (above). YOU AIN’T SEEN NOTHIN’ YET. PROVIDENCE.
I’ve recently been catching up on all the Resnais I haven’t seen, prompted by my screening of JE T’AIME, JE T’AIME for the ’68 Comeback Special. There’s a huge body of great work to see. If you haven’t started, start now. If you’ve seen them all before, see them again.
shadowplay 
March 2, 2014 at 1:38 pm
Reblogged this on hocuspocus13.
March 2, 2014 at 3:58 pm
… and again and again. His films will stay fascinating forever. The last two were both stunning, and I can’t wait to see the new one. And then to rewatch the others… again and again…
March 2, 2014 at 4:48 pm
The recurring moments in Marienbad and Je T’Aime are like a guide to how the work should be experienced: repeatedly and obsessively.
March 2, 2014 at 10:47 pm
Oh, what sad news. I thought he would be making films – like de Oliveira – beyond his centenary. It’s small moments in his work that I recall – the snow falling indoors in Private Fears in Public Places, the camera circling Andre Dusollier’s monologue in Melo, the garden statues in Marienbad but, where complete films are concerned, it’s Providence that means the most to me.
March 2, 2014 at 10:53 pm
Here’s my Resnais tribute
March 3, 2014 at 12:18 am
Providence is glorious, and “Tres special” as Bernard Natan’s granddaughter described it when we saw it in Lyon. I think she meant “That was weird,” but it works for the other meaning too.
March 4, 2014 at 5:57 pm
One of my all-time favourite filmmakers. I’ll watch Marienbad tonight.