The film opens with a naked couple in a close embrace in hotel room bed without explicit nudity, implying sex. Later that day, man pulls her away from a film set to have (implied) sex in a traditional Japanese room. Only nudity includes bare-chested male. Flashbacks show woman kissing a soldier and meeting him in remote sites, such as a shed, to have (implied) sex.


Film review:Translated by www.rabudo-ru.com


In the late 1950s and early 1960s, as the third film movement in the world film history, French “author film” (new wave) and “writer film” (left bank school) set off a trend of overthrowing and breaking the old production order at the moment when the gentle, exquisite and gorgeous “high-quality film” came to an end, With its rich creativity and irrefutable artistic vitality, it explains a new film concept, which has a strong impact on the unification of commercial films; As the birthplace of the world film, France once again acted as a film pioneer and guided a broader and broader world new film movement.

1959 was the most brilliant year in the history of French film and even the world film! Trevor’s “four hundred”, Godard’s “Exhaustion” and Alan Rainey’s “love in Hiroshima” were published almost at the same time, which shocked the international film world. (four hundred times won the best director award of Cannes Film Festival; exhausted won the best director award of West Berlin Film Festival; love of Hiroshima won the special comment award of Cannes Film Festival.)

Lei Nai is undoubtedly the leader of the “left bank faction”. In western film critics, he is as famous as Godard. In this film written by Margaret Duras, a great general of the French new novel school, he used a bold and novel narrative technique for the first time to alternately edit the real time and space and the inner world, which pioneered the creation of “psychological structure time and space”, and became a great milestone in the development of film narrative language. Love in Hiroshima truly realized the marriage between literature and film for the first time, opened up and occupied a high ground in the art field for the “writer film”, which can guide the “art film” to move towards, expanded the space of film narrative language, and had a far-reaching impact on the development of film.

Love in Hiroshima adopts the modernist film technique of staggered time and space, and reflects the horror of war and the importance of forgetting through a symbolic love story. The film describes that French actress Emmanuelle rive went to Hiroshima, Japan in 1957 to shoot a film promoting peace. Before returning home, she met Japanese man Hideki Okada. They fell in love and had an affair. The appearance of Hideki Okada reminds Emmanuel of her love with a German occupying force in the small French city of Neville during the war. Finally, the German man was killed, Neville was free overnight, and Emmanuel fell into endless madness

“He was slowly getting cold around me, but he died so slowly… I really can’t remember the moment when he died, because not only at that time, but also later, I can only say, I can only say that I can’t find any difference between the corpse and my body. I can only find the similarity and coordination between the corpse and my body – – that was my first love. ” She told the Japanese man in front of her, “14 years have passed,” she touched his hand, “these hands have forgotten, and I only remember that pain.” The man asked, “what about tonight?” “I remember tonight,” she said. “After that, I must not remember. I totally forgot. I will be thousands of kilometers away from you at this time tomorrow.” He held her: “in a few years, I will forget you. Other things like this will happen because of the habit that has become a habit for a long time. I will think of you as a forgotten old love. When I remember you, I will blame myself for forgetfulness and think of these things. I have long understood…”

“It’s terrible. I can’t remember you clearly at first. I’m beginning to forget you. Terrible! Such a deep love can forget!” What can’t we forget? The devastation of war? Unforgettable love? “People in Hiroshima don’t like watching peace plays here.” The trauma of war can not make people always remember the mistakes of history, like the atomic bomb that caused war disasters. “This is the masterpiece of human scientific talents. Unfortunately, the development of human political wisdom is 100 times lower than that of scientific wisdom.” How long can the call to stop nuclear weapon testing be heard? Forgetting history means betrayal, and forgetting love? Out of the pain of losing a German man, out of Neville, out of the Nova River, she also came out of her eternal happiness. Should we forget? Memory is crazy, forgetting is sober? When she met this Japanese man (also an enemy of fascism!), She fell into the edge of madness again. Should she accept or avoid forgetting again? This time, she fell into deep confusion. She longed for the love of this man who made her infatuated. She wanted to commemorate her happiness and pain? Or must she insist on using her reason to keep herself awake? Refusing to remember is forgetting, forgetting is betrayal, and falling into madness again is not a double betrayal of the spirit and body of two men (the dead German soldier and his husband)? She fell into a dilemma, which is the paradox of memory and forgetting. Memories are so painful that people must forget them. The atomic bomb Memorial in Hiroshima has repeatedly reminded people that forgetting means betrayal and a repetition of history. Should we forget or remember our own history? Human beings are struggling to find their own living space in this dilemma.

Memory is beautiful. Memory means entering the past. The past represents chaos, such as women’s choppy carcass and the warm wet place, the most primitive madness and sin. People need rational forgetting and sensory remembering. We must refuse to forget in order to return to the past and experience madness; We must forget madness in order to move towards the future and enjoy soberness.

get into! The film starts from entering! Men enter women’s bodies, women enter forgotten memories! Hiroshima men madly occupy the evil body of French women, and French women desperately occupy the streets, museums and suffering in Hiroshima’s memory. They are intertwined, and their carcass is enough to stop time! Montage images are constantly cutting from their naked bodies (living bodies) to the wreckage of War (inanimate bodies). Desire and reason begin to overlap again and again, and men and women struggle on the edge of death and life. “No, you haven’t been… You haven’t seen it, you don’t understand.” Hiroshima rejects women’s invasion; The man said, “we’ll meet again.” “No.” The woman answered simply. “Why?” The man tried to enter again. “You go, leave me!” Women refuse another invasion by men. “Stay… A week?… three days?…” “why stay, to live or to die?” “I really hate that you didn’t die in Neville…” does the night in Hiroshima have no end? ” “Yes, the night in Hiroshima has no end!” “I like this…” it seems that people can never overcome reality; To live or die is a question. There is no answer to this question. Even if women recall the past, men are ecstatic about entering women’s privacy, and the end of the film can only be vague and uncertain. Will women leave Hiroshima? No one knows.

Love in Hiroshima presents a complex and polysemy form from content to form. In terms of the theme of the film, whether it is “love”, “anti war” or the statements about “time and forgetting” and “reason and emotion”, the film critics’ definition of this problem seems to be unable to give a simple and clear label to the 90 minute space-time interleaving, and various understandings can not explain the theme of the film incisively and vividly. Perhaps this is the value of the film. In the words of director Lei Nai, the film is based on contradictions, including the inevitable and terrible contradiction of forgetting, the contradiction between an individual’s bitter and insignificant destiny against the background of collective and huge tragedy… And the debate on the theme of the film itself is meaningless, “We ask the audience not to rebuild the story from the outside, but to experience it from the heart together with the characters… The reality is never external or all internal, but a mixture of feeling and observation.”

Reality is never external, nor is it all internal. Existentialism holds that the world cannot be grasped by human rationality. It is originally a “nothingness”. Allan Rainey’s films use existential philosophy and psychoanalysis to reveal people’s various psychology and behaviors in life, use the intersection of real time and psychological time and space, make an in-depth and detailed exploration of the characters’ inner world, and practice and develop Bazin’s realistic film aesthetics, That is, a kind of “psychological realism” in the strict sense of grasping and reproducing reality with intuitive perception. This “uncertain” film aesthetics has directly affected the creation of many modernist directors. Film theorists have returned to Andre Bazin’s deepest question about film: what is film?

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