Muriel ou Le temps d'un retour
1963
Drama
1h 55m
Alain Resnais's third feature film, like his earlier Hiroshima Mon Amour and Last Year at Marienbad, is devoted to the vagaries of memory. The title character is seen only in the 8-millimeter films run over and over again by Bernard (Jean-Baptiste Thierée). A veteran of the French/Algerian war, Bernard was obliged to participate in the torture murder of Muriel, an Algerian girl accused of sabotage... (All Movie Guide)
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Muriel ou Le temps d'un retour
1963
Drama
1h 55m
Your probable score
Avg Percentile 63.4% from 286 total ratings
Ratings & Reviews
(286)
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Rated 14 Feb 2008
94
98th
An amazing film about how memories of the past shape our lives. The story is told through four main characters, each with their own secrets which affect the way they lead their lives. Resnais' direction is wonderful, he's able to express so much about people simply from how he focuses the camera and through quick edits. Aside from the theme of memories, Resnais has a lot to say about human relationships in general and the film is full of small details that make these characters painfully real.
Rated 14 Feb 2008
Rated 27 Mar 2020
4
74th
Again a deconstruction of the formative experiences of time and memory. Unlike in Hiroshima or Marienbad, these characters play as individuals rather than symbols, but that's not to say this film is any less cerebral. It's still largely concerned with coping mechanisms: Helene chides Bernard because he has changed, he sharply retorts that she never does. How beautiful are these images of Boulogne, where these people exist largely in fragments and montage, and the passing days feel indistinct.
Rated 27 Mar 2020
Rated 21 Mar 2009
100
98th
The conceits of an apartment furnished entirely with items for sale and of a modern provincial city reconstructed atop its own ghost after WWII, are tremendously evocative. And Sacha Vierny's color work around this setting is sharp, diamond-hard, luminous -- some of the best ever seen on screen. Indeed the movie as a whole, multifaceted enough to support several viewings and to look a little different with each one, seems at times, from certain angles, to be also among the best ever.
Rated 21 Mar 2009
Rated 17 Jul 2008
6
95th
Resnais is constantly flooring me in how layered his films are.
Rated 17 Jul 2008
Rated 22 Sep 2013
60
10th
Couldn't really get into this one. I like the visuals, the performances and the general sense of mystery, but I don't think I was in the mood to engage with this on the very intellectual level it requires, so I should probably watch it again.
Rated 22 Sep 2013
Rated 01 Mar 2008
81
69th
# 380
Rated 01 Mar 2008
Rated 19 Dec 2008
79
58th
424
Rated 19 Dec 2008
Rated 04 Apr 2013
72
81st
Intellectually more than emotionally engaging, this comes across as a systematic investigation, both philosophical and forensic, of the uncanniness of temporal experience, in an age where retentional finitude has combined with traumatic loss, trapping each in their individual and collective prisons composed of past mistakes, anxious, isolated and disordered, pregnant with the possibility of coming change but unprepared for and unwilling to confront the future.
Rated 04 Apr 2013
Rated 13 May 2007
80
68th
Good French New Wave movie. Like the music of Santana, Alain Resnais's style has stayed fresh because it *hasn't* changed
Rated 13 May 2007
Rated 17 Mar 2019
83
18th
83.00
Rated 17 Mar 2019
Rated 30 Jul 2014
82
88th
Now that's inventive editing. As the story advances -- and old man returns to Boulogne with his niece (or lover he met a year ago) only to recollect memories with the woman he once loved and left behind when the WWII started --, Resnais mixes present time scenes with an arrangement of dreamy/realistic vignettes of meals, dialogues, meetings et al. Characters are shot like street shadows. They are empty, vapid but leave strong traces of people who can't completely deal with the past.
Rated 30 Jul 2014
Rated 09 Mar 2008
82
73rd
Resnais' third feature doesn't have the weighty monologues of his first two, bringing us much closer to the reality of the characters. We feel that these are genuine people, not abstractions or concepts. Resnais acheives a sense of mystery through his editing, which is challenging, thought-provoking, and most importantly, invites us to revisit this film and piece it together. It does take a while to get going, and much of the first act could be scrapped.
Rated 09 Mar 2008
Rated 15 Dec 2010
35
90th
"A truly frustrating tug-of-war between conventional narrative and fragmented presentation." - Eric Henderson
Rated 15 Dec 2010
Rated 14 Jan 2010
80
60th
406
Rated 14 Jan 2010
Rated 04 Dec 2022
71
46th
This is intriguing but is narratively and stylistically challenging to the point where it is sometimes frustrating, as it can be difficult to follow what's going on. That didn't necessarily surprise me since I've seen Last Year at Marienbad (which I love), but this one doesn't have the hypnotic atmosphere to make up for the lack of clarity. The purposefully disorienting, jarring editing and discordant music are interesting but don't help. Still, it's an interesting piece well worth seeing.
Rated 04 Dec 2022
Rated 30 Nov 2011
79
58th
#423
Rated 30 Nov 2011
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