The same amazing non-linear storytelling that we saw in masterful use last week kind of makes its cinematic debut here, in Alain Resnais' 1959 drama Hiroshima mon Amour. Sure, as we point out, other films had used flashback, but none in quite this way, a much more literary way to be sure (we cite To The Lighthouse, but Slaughterhouse Five is perhaps the literary codifier of the method). In any case, though, Hiroshima mon Amour's technique became THE film narrative for flashback. And we're all lucky for that.
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