Hiroshima Mon Amour


Drama / Romance

IMDb Rating 7.9 10 27,490


Downloaded times
October 12, 2020



720p.BLU 1080p.BLU
825.32 MB
French 2.0
23.976 fps
90 min
P/S N/A / N/A
1.5 GB
French 2.0
23.976 fps
90 min
P/S N/A / N/A

Movie Reviews

Reviewed by nycritic 10 / 10 / 10

The Persistence and the Pain of Remembering

Hiroshima is at the heart of this deceptively simple story. Hiroshima not only as the city which received the fatal bomb on the morning of August 9, 1945, at 9:15 AM, but Hiroshima as the city of Nevers which the woman tries to escape from (but ultimately can't), and Hiroshima as the Japanese man with whom she is having a clandestine affair. The tragedy of the past dresses and undresses them like the ashes seen at the beginning of the film, superimposed on the glistening sweat from the protagonists' lovemaking... an act that will not be repeated after, or throughout the movie. Theirs is an affair that will remain devoid of a fulfilling consummation. We don't know much about these two people in the beginning: She (Emmanuelle Riva) is in Hiroshima filming scenes for an anti-war movie; he lost his family to the bombing and knows of the pain and the inconsolable loss. The Actress tells him (Eiji Okada) she knows of loss as well, and can identify. At first, we don't know what is under her skin, or why she calmly tells him there will be no more meetings, that he will go away. It is his staying, faithful, by her side, that causes her to slowly peel away at the layers of pain that have lingered just under the surface for 14 years now, eating at her, wanting some form of exorcism. Rarely has there been such naked intimacy told or filmed on screen in such unconventional manner, de-glamorizing the actors, almost depersonalizing their egos, for the sake of telling a story that took place years ago, but is still present in her mind and soul and is still happening, in an endless repetition, over and over again. Being in Hiroshima only intensifies her grief and overall isolation. Knowing the affair must eventually end and that they will go back to their lives practically turns her to stone in one scene, as morning arrives. Here is the real tragedy of the story: that we have come to care for both of these people, that they have somehow formed a bond that has been able to rise, like Hiroshima, from the ashes of the past, but that the isolation and inner torment that still rages prevents there being any simple solution -- no Hollywood ending where She will carry out her impulsive decision (that she makes one, to stay, is here, but only in desire, not action), and from what little we still know of Him, no statement that He will leave his unseen, unnamed wife. They will part, and her exclamation near the end: "I am forgetting you already!" is an act, a defense mechanism. She hasn't forgotten the incident at Nevers (which becomes her symbolic name at the end), nor will she forget this man whom at the end has named himself Hiroshima, in remembrance.

Reviewed by RunPepe 7 / 10 / 10

A complex view of humans and how they cope when their worlds become tragic

This film has been compared to "Citizen Kane," not because of the story itself, but the way it is told, and through innovative artistic devices. The screenplay is highly poetic even when describing destruction, death, and madness. Several jump cuts in time occur with voice-over, and, at the beginning, voice-over during a montage of frightening images from the aftermath of the Hiroshima bombing and the bodies of the two lovers in bed. The characters represent different cities; the Japanese man, Hiroshima, the French woman, a city in France, Nevers (was this intentional?), but the latter might as well represent any outside nation. While "Hiroshima," even after being destroyed by an "ally" of France, falls in love with her and wants her to stay, despite his claims that she can never know what the bombing was really like, yet leaving this in the past without forgetting, "France" is hung up on a dead Nazi soldier whom she had loved, and became an outcast because of it. What the soldier really seems to represent is not the Nazis, but rather a real, true love that transcended nationalities and associations. France's past is personal and fears forgetting it, while Hiroshima's is communal and, while not wanting to forget, also wants to move ahead. For this reason Hiroshima keeps trying to convince France to stay so that they can be in love, but France is too preoccupied with its own personal ghost that it cannot share, which is why it is a major breakthrough for her when she tells her tragic story for the first time to anyone, Hiroshima. Hiroshima's past tragedy being communal is shared and it wants to share with the rest of the world. France's tragedy is personal and is only beginning to be shared. It takes the entire film before the two characters can get to a beginning of something more than their differences and likenesses of tragedy and loss in the past, and this beginning is who they really are, in the present, two people reborn from these tragedies.

Reviewed by glofau 7 / 10 / 10

Brilliant but Tiresome

Hiroshima Mon Amour is brilliantly made and brilliantly acted, with a thoughtful, poetic script by the great French writer, Marguerite Duras. Its images are lyrical, disturbing, fascinating, and its anti-war message is profound and still frighteningly relevant. But in terms of strict entertainment... Any film which begins with abstracted images of the entwined body parts of human lovers, slowly becoming encrusted with ash and (presumably) atomic fallout... and then spends an obscure 15 minutes arguing about the death and disfigurement of multitudes during the atomic bomb blast in Hiroshima, and the nature of memory and forgetfulness... well, you realize immediately that this movie isn't set up to go anyplace fun. Unless your idea of "fun" is witnessing someone else's graphic misery without the cleansing catharsis that accompanies a more conventional tragedy. Hey, some people enjoy that kind of thing! Not me, but to each his/her own. Despite a structure which is famous for meandering through time, the film's narrative is fairly cogent and non-confusing, which is a plus. But the central illicit, inter-racial affair between a French actress and the Japanese architect whom she hooks up with during a film shoot in Hiroshima... It doesn't really make any sense. From the tiny acorn of a chance hookup, grows a mad-passionate love affair based almost entirely on memories dredged from the actress' past, which she disgorges to the architect, rather like a colorless Scheherezade, as she loses all rational connection to the present, conflating a youthful indiscretion with a deceased German soldier (and her subsequent descent into madness) with the non-happenings surrounding her current Japanese amour. German, Japanese... clearly, she can't tell these Axis races apart! I understand that the point of the film was not to create strict narrative coherence, but rather to delve into some kind of symbolic and psychic clash between this cold-yet-overwrought union of a French woman and her obsessed Japanese lover, and the horrors of War. But, despite some moments which are outright absurdist in effect, the overall tone of the film is grinding in its humorlessness. As I watched the characters fatalistically surrendering to their doom, all I could think was, "man, that Marguerite Duras must have been a drag to be romantically involved with." I mean, the Duras script, for all it's poetic symbolism and intellectual brilliance, etc etc, tells a story of people who are criminally passive and hopelessly clingy. Love seems to transform her characters into mere victims, of love, of war, of life, masochistically reveling in their own operatic suffering while doing virtually nothing. As the nameless SHE recalls her own suffering during her madness, scraping her fingertips off on the saltpeter-encrusted walls of her parent's cellar-prison, then receiving validation of existence by luxuriously sucking her own blood from her ravaged hands because otherwise she is utterly alone, all I could think was... Oh brother! This character is so badly damaged, how did she ever manage to get happily married before she embarked on this chance affair in Japan? The imagery is fabulous and intense, but are these really human beings that could have plausibly embarked on a journey together? One human being, actually, because the Japanese architect is little more than a handsome cipher of "love"... love, in this story, apparently meaning the obsession that arises from the act of physical copulation, an experience which is equated with destruction of the nuclear holocaust variety. So, Marguerite Duras clearly had issues surrounding her expression and experience of sexuality. And the film betrays little in the way of empathy, either, the characters are infused with an undercurrent of intense selfishness as they struggle to connect. HE is constantly delving into HER unhappy past even though it can give neither of them any pleasure or joy. The more HE delves, the more SHE becomes hopelessly entangled, and the more obsessed HE becomes... until the cold and bitter end. At least in an opera, you get to revel in an outpouring of passion! In this bitter pill, everything is so cold and humorless... well, it really is difficult to understand why people wax enthusiastic over this film so much. There is much here to ADMIRE... but not much to love, in my opinion. Except intellectually, because the film is awash with symbolism and thought-provoking moments. As a viewing experience for the average intellectual, such as myself, however, I felt that once was enough. The time jumping and abstractions and other critically lauded elements of this movie have been done better and more entertainingly by others. Though this is the most emotionally powerful anti-nuclear statement I've ever seen, for which, as someone who had much of his family die in the Hiroshima nuclear blast, I am profoundly grateful.

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