LAST YEAR AT MARIENBAD

The film is presented in black and white and in the absence of colour, the film relies on slow tracking shots of the jaw-dropping architecture of the sets, the impending doom of the organ-heavy, almost horror-like score, creative editing, and lighting to help the film establish tone. All of these elements are executed impeccably, and at times the film has the energy of a moving art gallery curated by a madman. While it is not explicitly disclosed as the correct interpretation, the reading of the film as a supernatural ghost story is justified and supported by the film’s presentation. The geometric layout of the chateau’s gardens, the robotic ways in which the characters do and do not move through the spacious halls and rooms, and the card games they play together feels as if the characters are bored, they’re stuck, they’re waiting for an unknown thing, and it appears as a purgatory of sorts between life and death. Unsurprisingly, the film feels like a fever dream; from the very opening credits, the dialogue is repeated in a lyrical fashion, repeated in different locations and different times, marked by changes in costume.

Speaking of fashion, the film has made a name for itself in the fashion world as one of the best-costumed films of the 20th century; A floats along in various Chanel creations, mixtures of black and white lace, jewels and feathers that make her feel like an otherworldly creature; and the audience can see for themselves why X has coveted her ever since their apparent interactions last year.

The beauty and lasting effect of ‘Marienbad’ lies in its rewatch factor: like the recent Black Mirror episode ‘Bandersnatch’, which literally let its audience control its narrative and put the decisions of the characters in the viewers hands, ‘Marienbad’ encourages viewers to become active in their viewing experience, to think of the story from different angles (I do mean this in a literal sense; certain character movements are shown from different angles, one after the other, all perfect in their execution). It is up to the viewer to decide how invested they are in story, how they want the story to end. Unlike films with more clear narrative structure that benefit from repeat viewings for picking up on clever clues, dialogue and detail normally missed the first time, ‘Marienbad’ is a unique cinematic experience that invites viewers to roam its monolithic halls again and again, feeling like a new film every time.