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Last Year at Marienbad

Last Year at Marienbad

Drama · Romance · 1961

At a weekend gathering, a man tells a woman that they had spent time there together a year prior. But, the woman has no recollection whatsoever and is convinced that he is simply fabricating the encounter. The more he speaks about their activities the previous year however, the more compelling he becomes. The question remains however – did they meet previously or not?

Movie details

Last Year at Marienbad

“Extraordinary! Hypnotic! Beautiful! Masterful!”

1961 Drama · Romance 1h 35m

Critical arithmetic

One number, for now.

TMDB

7.4 / 10

Community rating

At a weekend gathering, a man tells a woman that they had spent time there together a year prior. But, the woman has no recollection whatsoever and is convinced that he is simply fabricating the encounter. The more he speaks about their activities the previous year however, the more compelling he becomes. The question remains however – did they meet previously or not?

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Last Year at Marienbad?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Alain Resnais

Written by

Alain Robbe-Grillet

Delphine Seyrig

Delphine Seyrig

A – The Brunette Woman

Giorgio Albertazzi

Giorgio Albertazzi

X – The man with the Italian Accent

S

Sacha Pitoëff

M – The Other Man with the Lean Face, The Husband

F

Françoise Bertin

A Character from the Hotel

L

Luce Garcia-Ville

A Character from the Hotel

H

Héléna Kornel

A Character from the Hotel

Françoise Spira

Françoise Spira

A Character from the Hotel

Court is in session

Put Last Year at Marienbad on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.