Poetical tale of Anne-Marie Stretter, the wife of a French diplomat in India in the 1930s. At 18 she had married a French colonial administrator and went with him on posting to Savannakhet,... See full summary »

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Cast

Cast overview, first billed only:
...
...
Le vice-consul de Lahore (as Michel Lonsdale)
...
L'attaché d'ambassade allemand
Claude Mann ...
Michael Richardson
...
Georges Crawn
Didier Flamand ...
Le jeune invité
Claude Juan ...
Le domestique / Servant
Satasinh Manila ...
Voix de la mendiante (voice)
Nicole Hiss ...
Voix intemporelle (voice)
Monique Simonet ...
Voix intemporelle (voice)
Viviane Forrester ...
Voix intemporelle (voice)
Dionys Mascolo ...
Voix intemporelle (voice)
Marguerite Duras ...
Voix intemporelle (voice)
Françoise Lebrun ...
Voix de la réception (voice)
...
Voix de la réception (voice)
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Storyline

Poetical tale of Anne-Marie Stretter, the wife of a French diplomat in India in the 1930s. At 18 she had married a French colonial administrator and went with him on posting to Savannakhet, Laos. There she met her second husband who took her away and for 17 years they lived in various locations in Asia. Now in Calcutta, she takes lovers to relieve the boredom in her life. Told in a highly visual style with little dialogue but a constant voice-over narrative by the different characters. Written by garykmcd

Plot Summary | Add Synopsis

Genres:

Drama | Fantasy | Romance

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Release Date:

4 June 1975 (France)  »

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Technical Specs

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Sound Mix:

Color:

(Eastmancolor)

Aspect Ratio:

1.37 : 1
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Did You Know?

Trivia

The soundtrack of this movie was recorded separately from the movie itself, and later re-used in full in the movie Son nom de Venise dans Calcutta désert (1976). See more »

Connections

Referenced in La couleur des mots (1984) See more »

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User Reviews

 
Jouissance féminine
17 May 2008 | by (Finland) – See all my reviews

This film is a landmark in feminine avant-garde aesthetics. Because of its painfully slow rhythm throughout the film, the spectator is forced to take a certain distance and a critical position to the way the film has been constructed: she/he can no longer reconcile with an illusion pretending to reflect the world as we are used to seeing it being represented ( > conventional aesthetics of cinema ), but is on the contrary obliged to take an active, intellectual position thinking about the narrative structure of this work of art - and furthermore - what might this characteristic of the film represent. In fact, the slow rhythm along with the sensual colours, shapes, perfumes and sounds transmitted through the film could easily be seen to reflect Duras'conception of "jouissance féminine".


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