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Hiroshima Mon Amour

Hiroshima Mon Amour

Drama · History · Romance · 1959

The deep conversation between a Japanese architect and a French actress forms the basis of this celebrated French film, considered one of the vanguard productions of the French New Wave. Set in Hiroshima after the end of World War II, the couple -- lovers turned friends -- recount, over many hours, previous romances and life experiences. The two intertwine their stories about the past with pondering the devastation wrought by the atomic bomb dropped on the city.

Movie details

Hiroshima Mon Amour

“From the measureless depths of a woman's emotions...”

1959 Drama · History · Romance 1h 32m

Critical arithmetic

One number, for now.

TMDB

7.7 / 10

Community rating

The deep conversation between a Japanese architect and a French actress forms the basis of this celebrated French film, considered one of the vanguard productions of the French New Wave. Set in Hiroshima after the end of World War II, the couple -- lovers turned friends -- recount, over many hours, previous romances and life experiences. The two intertwine their stories about the past with pondering the devastation wrought by the atomic bomb dropped on the city.

CriticWise case file

What this film says about your taste.

Not a recommendation score. A measure of how closely the film’s taste signals resemble yours.

The archetype split

Who fights over Hiroshima Mon Amour?

The split comes from the same five-axis model used by the test, not audience ratings or review sentiment.

Taste neighbourhood

Nearby on the taste map.

TMDB supplies the candidates. CriticWise reorders them by craft, strangeness, prestige, emotion, and pace.

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Names above the title

The people responsible.

Directed by

Alain Resnais

Written by

Marguerite Duras

Emmanuelle Riva

Emmanuelle Riva

Elle

Eiji Okada

Eiji Okada

Lui

Stella Dassas

Stella Dassas

Mother

Pierre Barbaud

Pierre Barbaud

Father

Bernard Fresson

Bernard Fresson

German Lover

Court is in session

Put Hiroshima Mon Amour on trial.

Two incompatible taste archetypes. One film. Read the arguments, then issue a completely binding cultural ruling.

The defence The Prestige Tourist

“Ambition earns the room.”

The film reaches for consequence and scale, accepting the risk of seriousness instead of shrinking from it.

The prosecution The Popcorn Loyalist

“Importance has entered the chat.”

The production keeps announcing its significance, as though awards-season posture were proof of insight.