hiroshima mon amour

If what I’m about to say has already become a cliché, it’s only because the sentiment is so widely held. As it were: Alain Resnais died several months ago, yes, but many of the films remain masterpieces and the legacy is, without a doubt, as strong as ever. Only a day after seeing his final — and, I’m happy to say, rather good — film, Life of Riley, there’s a trailer for the restoration of his first, Hiroshima Mon Amour, which the New York Film Festival will soon screen. Alongside this year’s selection, it’s one of those first-last, old-new pairings we can only get so often.

Despite my general aversion to digital restorations, I’m comforted by the notice that Resnais, himself initially concerned about that format, assisted them in “doing tests to ensure that [their] restoration respected the original grain as much as possible”; the final results were to his liking. Such a sentiment is echoed in a notice on Technicolor‘s website: “The huge undertaking had two objectives: restoration of the film so that it could be widely screened and preservation of the original elements, including a film print, to ensure optimal conservation in an appropriate place. Only original film prints can ensure a work’s lasting existence, regardless of future digital technology evolution.”

Have a look here for notice of when and where you can see Hiroshima yourself, then see the trailer below:


Do you plan to see this restoration of the Resnais classic?

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