Resnais's Science Fiction

Providence, Alain Resnais, 1977

It's right to talk about the science-fiction element in Resnais. But it's also wrong, because he is the only film-maker to convey the feeling that he has already reached a world which in other people's eyes is still futuristic. In other words he is the only one to know that we are already in the age where science-fiction has become reality. In short, Alain Resnais is the only one of us who truly lives in 1959. With him the word 'science·fiction' loses all its pejorative and childish associations because Resnais is able to see the modern world as it is. Like the science-fiction writers he is able to show us all that is frightening in it, but also all that is human. Unlike the Fritz Lang of Metropolis or the Jules Verne of Cinq cents millions de Ia Begum, unlike the classic notion of science-fiction as expressed by a Bradbury or a Lovecraft or even a Van Vogt - all reactionaries in the end - it is very obvious that Resnais possesses the great originality of not reacting inside science-fiction. Not only does he opt for this modern and futuristic world, not only does he accept it, but he analyses it deeply, with lucidity and with love. Since this is the world in which we live and love, then for Resnais it is this world that is good, just and true.

[...]

Resnais is an agnostic. If there is a God he believes in, it's worse than St Thomas Aquinas's. His attitude is this: perhaps God exists, perhaps there is an explanation for everything, but there's nothing that allows us to be sure of it.

—Jacques Rivette, in conversation with the editors of Cahiers du Cinema, issue 97, July 1959. From Jim Heller's Cahiers Du Cinéma, the 1950s: Neo-realism, Hollywood, New Wave.

Alain Resnais was 91. 

Screening Log: Clover Edition

            Two notes before this week’s screening log! Today begins the For the Love of Film: The Film Preservation Blogathon. Run by Ferdy on Films, Rod Stewart, and the lovely Self-Styled Siren, this year’s goal is to raise $15,000 to donate to the National Film Preservation Foundation, who will use that money to restore the recently found Hitchcock film The White Shadow. Read more about it at Ferdy’s place, and donate here. Yours truly will have a couple of things to blog about later this week. Also, as I posted Friday, make sure to check out some of the great stuff at the Migrating Forms festival.

-Celine and Julie Go Boating, 1977. Directed by Jacques Rivette. 35mm projection at Film Forum.

-Climates, 2006. Directed by Nuri Bilge Ceylan, 35mm projection at Film Society of Lincoln Center.*

-The Connection, 1961. Directed by Shirley Clarke. 35mm projection at IFC Center.