Vintage Poster
Hiroshima My Love
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Discover the poster for “Hiroshima mon amour”, a masterpiece of the French New Wave. Immerse yourself in the intense and tragic love of two lovers lost in the memories of war. A poignant work that explores memory, loss and redemption.
- Paper characteristic:
- 🎨 Canvas: world standard in terms of printing and imitating a “painting canvas” appearance .
- By default, the poster contains a 4 cm white border for framing (frame not included). If you don't want it, please choose "without white border".
- ✅ Size: several choices available . ✅
- Great UV resistance .
- Maximum color vibrancy, without reflections .
- Recycled paper, guaranteeing respect for the environment.
- Poster carefully packaged and delivered in a protective tube for total protection .
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FREE STANDARD DELIVERY .
⚠️ Frame not included. ⚠️
Description of this Hiroshima Mon Amour Poster
Hiroshima Mon Amour is a 1959 romantic drama film directed by French filmmaker Alain Resnais and written by French author Marguerite Duras.
Resnais' first feature film, it is a co-production between France and Japan, and documents a series of intensely personal conversations (or one long conversation) over a period of just over 24 hours between a French actress unnamed and a Japanese architect. The film is notable for Resnais's innovative use of brief flashbacks to suggest flashes of memory, which creates a non-linear plot.
With films like Breathless (1960) and Les 400 coups (1959), Hiroshima mon amour brought international attention to the new movement in French cinema and is widely considered one of the most influential films of the French New Wave. He was notably one of the main catalysts of New Wave cinema.
Series of close-ups of the backs and arms of a man and a woman embracing, amid falling ashes, then covered in sweat. In voice-over, the woman recounts the consequences of the atomic bombing of Hiroshima that she saw during her trip to the city, while current and fictional images show victims, demonstrations, memorials, as well as the streets and buildings of today's Hiroshima. The man calmly says that the woman didn't see anything and doesn't know what it's like to forget. He's from Hiroshima and his family died in the bombings while he was away fighting the war, and the wife is a French actress who is in the city filming an anti-war film.
In the morning, the woman watches the man sleep. His twitching hand reminds him of his first love, a soldier whose hand moved in the same way while he was dying. The Japanese man wakes up and it appears that he and the woman met the night before in a cafe. She learns that he is an architect and that he deals with politics. They discuss the bombings and the end of the war, and he is enchanted by the word "Nevers", her hometown, where she never wants to return. The man says that he would like to see the woman again, but she tells him that she is going back to Paris the next day. Neither this nor the revelation that she has children changes her feelings, but she, although torn, repeatedly refuses to arrange another meeting.
The man visits the woman at the filming location, and she is happy to see him. He takes her home. She asks him if he lives alone and he tells her that his wife is away for a few days. They both say they are happy in their marriage, although they have previously had casual affairs, and are making love again. After deciding to spend the woman's remaining time in Hiroshima together, they go to a teahouse, where the man asks the woman to tell him more about Nevers and her life there. Interspersed with flashbacks, she recounts how she and an occupying German soldier fell in love and planned to escape to Bavaria before he was shot while waiting for her on the day of the liberation of Nevers, how she stayed with him while he died for the next two days, how the villagers shaved her head when they discovered their relationship, and how her parents alternately locked her in her room and in the cellar while her hair was growing and she was coming out of her madness, then sent her to Paris just before the bombing of Hiroshima. She attempts to express the pain she feels at having forgotten the German and their love, and indicates that she has tried to keep her distance from the Japanese because she no longer wants a such heartbreak.
The man is delighted to learn that the woman never told her husband about the German, but when they leave the teahouse she tells him to leave and that they will probably never see each other again. In her hotel room, she feels guilty for telling the man about the German, but decides to stay in Hiroshima. She returns to the tea room, now closed, and the man finds her and asks her to stay. She weakly responds that she will, but again tells him to go away. They walk through the city, together and separately, images of Hiroshima alternating with those of Nevers. The woman goes to a train station, where she gets rid of some problems related to her first love and decides that she would like to visit Nevers. She takes a taxi to a nightclub, followed by the man. The place is almost empty and they sit next to each other. At sunrise, a Japanese man sits next to the woman and flirts with her in English.
Back in the woman's hotel room, the architect knocks on the door. She brings him in and shouts that she is already starting to forget him, but suddenly calms down and tells him that his name is "Hiroshima". He answers in the affirmative, and it's called "Nevers".
