Une aussi longue absence (Henri Colpi,1961, France)Īlida Valli, known today for playing Anna in The Third Man, stars in this Palme d'Or winner as a café owner plagued with grief, struggling to restore the memories of an amnesiac who might be her long-lost husband. Moreau won Best Actress at Cannes for her performance in the film. Jeanne Moreau, prior to her role in Jules & Jim, plays a bourgeois housewife who witnesses a murder and suspects fellow witness Chauvin, played by Nouvelle Vague heart throb Jean-Paul Belmondo, may be hiding something. Duras co-scripted the adaptation with Brook. Moderati Cantabile (Peter Brook,1960, France)īefore realizing the ultimate creepy kids classic Lord of the Flies, Peter Brook directed the film adaptation of Marguerite Duras' novella.
Arguably the defining moment of the Nouvelle Vague, Eric Rohmer famously called it “ the most important film since the war, the first modern film of sound cinema.” Hot off the success of her novella Moderato Contabile, Marguerite Duras reportedly wrote the script for Resnais in less than two months. Hiroshima, mon amour (Alain Resnais,1959, France)Ī love affair between a French actress (Emanuelle Riva) and a Japanese architect (Eiji Okada) is haunted by memories of World War II, rendered through startling jump cuts and disembodied voiceover. While she expertly elicited memorable performances from actors such as Jeanne Moreau, Delphine Seyrig, Michael Lonsdale, and Gerard Depardieu, it is undoubtedly Duras' unfettered use of her own voice that is her most thrilling challenge to the history of cinema. As a writer/director interested in exploring the intersections of colonialism, female sexuality, and the language of film itself, her influence can be felt within the work of contemporary filmmakers like Claire Denis, who has referred to Duras as an "intellectual hero."ĭestroy, She Said perfectly expresses Duras' passage from a begrudging reliance on the filmic representations of others to the active expression of her personal mythologies and political concerns on screen. At the age of fifty-five, Duras directed her first feature Détruire Dit-Elle (1969), and she continued to develop an inimitable style over the next twenty-five years of filmmaking. Following her monumental first screenplay for Hiroshima, Mon Amour (1959), she worked for ten years as a screenwriter on film adaptations of her own novels directed by the likes of Jules Dassin, Tony Richardson, and Peter Brook. Unlike her contemporaries of post-1968 cinema, such as Agnes Varda, Chantal Akerman, and Nelly Kaplan Marguerite Duras was already a successful novelist with a keen interest in deconstructing her own writing on screen when she made her directing debut.
It’s already the beginning of an inverted world.” – Marguerite Durasĭoc Films at the University of Chicago, in collaboration with the Institut Français and the Cultural Services of the French Embassy in Chicago, presents a selection of 10 of Marguerite Duras's films as a director or screenwriter. " What appears in my films is the language of women, the action of women.
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