IMDb > Hiroshima Mon Amour (1959)
Hiroshima mon amour
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Hiroshima Mon Amour (1959) More at IMDbPro »Hiroshima mon amour (original title)

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Hiroshima Mon Amour -- The new restoration of Alain Resnais' HIROSHIMA MON AMOUR opens October 17 at the Film Society of Lincoln Center in New York City and Laemmle Theatres in Los Angeles! Written by Marguerite Duras, HIROSHIMA MON AMOUR depicts a brief affair between a French actress (Emmanuelle Riva) and a Japanese architect (Eiji Okada) in the rebuilt and thriving Hiroshima of 1959. The couple's bliss is slowly eroded by the unavoidable memories of the war and atomic mass destruction.


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Marguerite Duras (writer)
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Release Date:
16 May 1960 (USA) See more »
...from the measureless depths of a woman's emotions...
A French actress filming an anti-war film in Hiroshima has an affair with a married Japanese architect as they share their differing perspectives on war. Full summary » | Add synopsis »
Nominated for Oscar. Another 6 wins & 5 nominations See more »
User Reviews:
The beginnings of the inland empire See more (99 total) »


  (in credits order) (verified as complete)

Directed by
Alain Resnais 
Writing credits
(in alphabetical order)
Marguerite Duras  writer

Produced by
Anatole Dauman .... producer
Samy Halfon .... producer
Original Music by
Georges Delerue 
Giovanni Fusco 
Cinematography by
Michio Takahashi (Japan) (as Takahashi Michio)
Sacha Vierny (France)
Film Editing by
Jasmine Chasney 
Henri Colpi 
Anne Sarraute 
Production Design by
Minoru Esaka  (as Esaka)
Lucilla Mussini (uncredited)
Costume Design by
Gerard Collery 
Makeup Department
Alexandre Marcus .... key makeup artist (as A. Marcus)
Éliane Marcus .... hair stylist (as Eliane Marcus)
Production Management
Sacha Kamenka .... production manager
Takeo Shirakawa .... production manager (as Shirakawa Takeo)
Second Unit Director or Assistant Director
T. Andrefouet .... assistant director
R. Guyonne .... assistant director
Hara .... assistant director
Itoi .... assistant director
Jean Léon .... assistant director (as J.P. Léon)
I. Shirai .... assistant director
Art Department
Miyakuni .... assistant set decorator
Sound Department
Gilles Barberis .... audio restorer
Pierre-Louis Calvet .... sound engineer (as P. Calvet)
René Renault .... sound engineer (as R. Renault)
Camera and Electrical Department
Jean Chiabaut .... assistant camera (as J. Chiabaut)
Denys Clerval .... assistant camera (as D. Clerval)
Ito .... lighting technician
Goupil Watanabe .... camera operator
Other crew
Sylvette Baudrot .... script
Gérard Jarlot .... literary consultant
Nicole Seyler .... production secretary

Production CompaniesDistributors

Additional Details

Also Known As:
"Hiroshima mon amour" - France (original title)
"Hiroshima, My Love" - International (English title) (imdb display title)
See more »
90 min
Aspect Ratio:
1.37 : 1 See more »
Sound Mix:
Argentina:18 | Australia:PG | Finland:K-18 | Hungary:18 | Ireland:12 (2015) | Italy:VM16 (original rating) | Italy:T (re-rating) (1974) | Netherlands:12 | Portugal:M/12 (DVD rating) | Portugal:M/12 (Qualidade) | Portugal:(Banned) (original rating) | Singapore:PG | South Korea:15 | Sweden:15 | UK:X (original rating) | UK:PG (video) | UK:12 (re-rating) (2011) | USA:Not Rated | West Germany:16 (f)

Did You Know?

This started life as a documentary about the nuclear bomb drop on Hiroshima until Alain Resnais decided to include fictional elements.See more »
Continuity: After they leave the teahouse, a shot from the side shows Lui standing behind Elle to her left with a gap of about a foot and a half. The next frontal shot shows him standing directly behind her with only a small gap between them.See more »
Lui:[First lines] You saw nothing in Hiroshima. Nothing.
Elle:I saw everything. Everything.
See more »
Movie Connections:
Featured in Taj Mahal (2015)See more »


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15 out of 18 people found the following review useful.
The beginnings of the inland empire, 10 May 2011
Author: chaos-rampant from Greece

Memory has persistently troubled filmmakers, this facet of consciousness by which the past overwrites the present. Where do these images come from, at what behest? More importantly, by invoking memory, how can we hope to communicate to others this past experience, which only perhaps existed once?

The woman says she saw Hiroshima, the charred asphalt and scorched metal, the matted hair coming out in tufts. We may have seen the same anonymous images of disaster, elsewhere, and think we saw. We see other people like her, like ourselves as mere spectators of a film, walk around the a-bomb museum in Hiroshima among the relics of disaster, lost in thought, impotent to reconstruct the experience from these glassed remnants of it. One of the great metaphors of memory, this museum that houses and presents fragmentary what used to be and how the spectators merely move inside it—internal observers of images.

The woman says she saw Hiroshima, but we know she didn't really experience. We know by the same images we may have seen, and which we see again in the film. We know this from our own private efforts to relive time gone. We see the objects and sounds but not having walked among them, we only know them vicariously. Can we ever get to know through cinema for that matter?

The great contribution of Resnais to cinema is firstly this, the realization that this medium is inherently equipped to inherit the problem of memory—just what is this illusory space. Inherently equipped in the same breath to fail to recapture the world as it was, like memory. Where Godard would be in thirty years, Resnais—and his friend Chris Marker—already was with his debut. He gives us here a more poignant, intelligent disclaimer of the artificiality of cinema than Godard ever did. The woman is of course an actress starring in a film—about peace we find out.

But Hiroshima is not the simple ploy of a trickster, it enters beyond.

We see in Hiroshima how the past forms that make up life as we have known it, and in which the self was forged, come into play. How these things, a past love or suffering thought to matter at the time, are only small by the distance of time. That we weren't shattered by them.

And we see how, having been, these forms will vanish again. How this present love and perhaps the suffering that will follow it, thought to matter now, will also come to pass and be forgotten. How we will perhaps try to recount these events at a future time, our reconstructions faced with the same impotence to make ourselves known or know in turn.

All that remains then, having walked the city in an effort to shape again from memory, is this moment, perhaps shared by two people on a bed. These walks taken together. Perhaps a story to tell or a film about it.

Something to meditate upon.

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