85. Alain Resnais
LAST YEAR AT MARIENBAD, NIGHT AND FOG, MON ONCLE D’AMERIQUE
Alain Resnais received an 8mm camera as a gift at age 12, and soon after came to the conclusion that “there was something important in cinema, which was the manipulation of time through editing.” He has been experimenting ever since. After gaining international acclaim with 1959’s Hiroshima, mon amour, he made one of the great European puzzle-without-a-solution films (and, indeed, one of the greatest films of all time) with Last Year at Marienbad. Although his films have yet to find a similarly permanent foothold since, nobody who watches Je t’aime, je t’aime or Muriel could come away with anything other than fascination and admiration for the man who states he simply looks at each story and finds the most natural approach with which to film it, only to come up with the most unique point of view possible. At nearly 90 years old, he continues to demonstrate (most recently with last year’s Wild Grass) that his instincts is are as strong, sharp, and original as ever.
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