Directed by: Alain Resnais
A cornerstone of the French New Wave, Hiroshima mon amour is the first feature from Alain Resnais and one of the most influential films of all time. A French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) begin a brief, intense affair in postwar Hiroshima, their mutual fascination pushing them to confront their own scarred memories of love, war, and loss.
With its innovative flashback structure and an Academy Award–nominated screenplay by novelist Marguerite Duras, the film delicately weaves past and present, personal pain and public anguish into a moody, haunting masterwork that continues to shape modern cinema.
| Feature | Description |
|---|---|
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New 4K Digital Restoration |
New 4K digital restoration of Hiroshima mon amour, presented with an uncompressed monaural soundtrack for exceptional image and audio clarity. |
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Audio Commentary |
Feature-length audio commentary by film historian Peter Cowie, offering critical analysis, historical context, and production background. |
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Interviews with Alain Resnais |
Archival interviews with director Alain Resnais from 1961 and 1980, reflecting on the film, his process, and his place within postwar cinema. |
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Interviews with Emmanuelle Riva |
Archival interviews with actor Emmanuelle Riva from 1959 and 2003, discussing her role, performance, and memories of the production. |
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Interview with François Thomas |
New interview with film scholar François Thomas, author of L’atelier d’Alain Resnais, exploring the film’s production, structure, and legacy. |
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Interview with Tim Page |
New interview with music scholar Tim Page examining the film’s score and the way its music shapes mood and meaning. |
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Revoir “Hiroshima” . . . |
A 2013 program on the film’s restoration, detailing the technical and aesthetic decisions behind the new 4K presentation. |
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New English Subtitle Translation |
Updated English subtitle translation to better reflect the nuance and rhythm of the original French dialogue. |
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Booklet Essay & Roundtable |
Booklet featuring an essay by critic Kent Jones and excerpts from a 1959 Cahiers du cinéma roundtable discussion on the film. |