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Hiroshima Mon Amour

Original title: Hiroshima mon amour
  • 1959
  • Not Rated
  • 1h 30m
IMDb RATING
7.9/10
34K
YOUR RATING
Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
Trailer for Hiroshima Mon Amour
Play trailer2:12
2 Videos
37 Photos
DramaRomance

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.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.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.

  • Director
    • Alain Resnais
  • Writer
    • Marguerite Duras
  • Stars
    • Emmanuelle Riva
    • Eiji Okada
    • Stella Dassas
  • See production, box office & company info
  • IMDb RATING
    7.9/10
    34K
    YOUR RATING
    • Director
      • Alain Resnais
    • Writer
      • Marguerite Duras
    • Stars
      • Emmanuelle Riva
      • Eiji Okada
      • Stella Dassas
    • 129User reviews
    • 138Critic reviews
  • See more at IMDbPro
    • Nominated for 1 Oscar
      • 7 wins & 10 nominations total

    Videos2

    Hiroshima, Mon Amour
    Trailer 2:12
    Watch Hiroshima, Mon Amour
    HIROSHIMA MON AMOUR - Rialto Pictures Trailer
    Trailer 2:10
    Watch HIROSHIMA MON AMOUR - Rialto Pictures Trailer

    Photos37

    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Eiji Okada and Emmanuelle Riva in Hiroshima Mon Amour (1959)
    Hiroshima Mon Amour (1959)
    Hiroshima Mon Amour (1959)

    Top cast

    Edit
    Emmanuelle Riva
    Emmanuelle Riva
    • Elle
    • (as Emmanuele Riva)
    Eiji Okada
    Eiji Okada
    • Lui
    Stella Dassas
    • Mother
    Pierre Barbaud
    • Father
    Bernard Fresson
    Bernard Fresson
    • German Lover
    Moira Lister
    Moira Lister
    • (Dubbed Emmanuelle Riva)
    • (uncredited)
    • Director
      • Alain Resnais
    • Writer
      • Marguerite Duras
    • All cast & crew
    • Production, box office & more at IMDbPro

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    Storyline

    Edit

    Did you know

    Edit
    • Trivia
      This film pioneered the use of jump cutting to and from a flashback, and of very brief flashbacks to suggest obtrusive memories.
    • Goofs
      When Elle leaves the hotel to go the set, she is wearing a nurse's uniform with a headscarf and carrying a black handbag. When Lui meets her on the set, she is now wearing a skirt and blouse and still has the headscarf. When they leave the set, the headscarf is left behind. When they get to Lui's house, she now has a white jacket.
    • Quotes

      Lui: Some years from now, when I have forgotten you and other romances like this one have recurred through sheer habit, I will remember you as a symbol of love's forgetfulness. This affair will remind me how horrible forgetting is.

    • Connections
      Edited into Histoire(s) du cinéma: Le contrôle de l'univers (1999)

    User reviews129

    Review
    Review
    Featured review
    The beginnings of the inland empire
    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.
    helpful•22
    6
    • chaos-rampant
    • May 10, 2011

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    Details

    Edit
    • Release date
      • May 16, 1960 (United States)
    • Countries of origin
      • France
      • Japan
    • Languages
      • French
      • Japanese
      • English
    • Also known as
      • Hiroshima, My Love
    • Filming locations
      • Nevers, Nièvre, France(street scenes, river banks)
    • Production companies
      • Argos Films
      • Como Films
      • Daiei Studios
    • See more company credits at IMDbPro

    Box office

    Edit
    • Gross US & Canada
      • $96,439
    • Opening weekend US & Canada
      • $18,494
      • Oct 19, 2014
    • Gross worldwide
      • $142,027
    See detailed box office info on IMDbPro

    Technical specs

    Edit
    • Runtime
      1 hour 30 minutes
    • Color
      • Black and White
    • Sound mix
      • Mono
    • Aspect ratio
      • 1.37 : 1

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