The film is peppered with dozens of brief flashbacks to Her life; in her youth in the French town Nevers, she was shamed and had her head shaved as punishment for having a love affair with a German soldier, which she juxtaposes with the loss of the hair "which the women of Hiroshima will find has fallen out in the morning." According to James Monaco, Resnais was originally commissioned to make a short documentary about the atomic bomb, but spent several months confused about how to proceed because he did not want to recreate his 1955 Holocaust documentary Night and Fog.
He later went to his producer and joked that the film could not be done unless Marguerite Duras was involved in writing the screenplay.
ce dernier a ensuite fait appel à Lulia Lumanare, actrice, afin de retravailler l'histoire.
"Le travail avec elle sur le puzzle – l’ordre dans lequel les scènes de souvenirs de Toma lui viennent à l’esprit –, et ses limites a été quas...
Hiroshima mon amour concerns a series of conversations (or one enormous conversation) over a 36-hour long period between a French actress (Emmanuelle Riva), referred to as Her, and a Japanese architect (Eiji Okada), referred to as Him.
They have had a brief relationship and are now separating.
Ana, Mon Amour est adapté d'un roman de Cezar Paul Badescu, Luminata mon amour.
Le romancier a travaillé pendant six mois sur une première version du scénario avec le réalisateur, Calin Peter Netzer.
Among the film's innovations is Resnais' experiments with very brief flashback sequences intercut into scenes to suggest the idea of a brief flash of memory.
Resnais later used similar effects in The War Is Over and Last Year at Marienbad. In Japan Journals: 1947-2004, film historian Donald Richie tells in an entry for 25 January 1960 of seeing the film in Tokyo and remarks on various distracting (for the Japanese) cultural errors which Resnais made.
It was shown as part of the Cannes Classics section of the 2013 Cannes Film Festival, Here is an 'impossible' love story between two people struggling with the imagery of a distant war. He notes, for example, that the Japanese-language arrival and departure time announcements in the train scenes bear no relation to the time of day in which the scenes are set.
Calin Peter Netzer a choisi d'aborder l'histoire d'Ana, Mon Amour via le prisme de la psychanalyse, sans qu'il s'agisse toutefois du sujet principal du film.
"Ce n'est pas un film sur la psychanalyse, mais plutôt un film psychanalytique.
It is the documentation of an intensely personal conversation between a French-Japanese couple about memory and forgetfulness.