What differentiates this from other puzzle-box movies I’ve seen is that Resnais has essentially given us a map with no key. We can compare the differing variations on what did or did not happen, but without an objective account of the events, none can be deemed more accurate than the other. Even films that are equally elusive, like say Persona distinguish where dreams end and reality begins before the credits roll, but Last Year At Marienbad’s most audacious, post-modern subversion is its refusal to point out the demarcating line between reality and fantasy. In doing so Resnais laughs in our faces for thinking ourselves capable of finding the line between the two, but more importantly for having convinced ourselves that there was such a line to begin with.
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