After working on the commentary for Resnais ' film Le mystère de l ' atelier quinze in 1957, Marker continued to form his own cinematic style with the feature documentary Letter from Siberia.

In his decade of making documentary short films, Resnais had established his interest in and talent for collaboration with leading figures in other branches of the arts ; with the painters who were the subjects of his early works ; with writers ( Eluard in Guernica, Cayrol in Nuit et Brouillard, Queneau in Le Chant du styrène ); with musicians ( Darius Milhaud in Gauguin, Hanns Eisler in Nuit et Brouillard, Pierre Barbaud in Le Chant du styrène ); and with other film-makers ( Resnais was the editor of Agnès Varda's first film, La Pointe courte, and co-directed with Chris Marker Les statues meurent aussi ).

There is also a short film from 1950 by Alain Resnais entitled Guernica.

* Guernica ( 1950 film ), a short film directed by Alain Resnais

His daughter from this marriage, Florence ( b. 1933 ), married the filmmaker Alain Resnais.

With That Man From Rio ( 1965 ) he switched to commercial, mainstream productions, mainly comedies and action films but did appear in the title role of Alain Resnais ' masterpiece Stavisky ( 1974 ), which some critics regard as Belmondo's finest performance.

Realising that standard documentary techniques would be incapable of confronting the enormity of the horror ( and even risked humanising it ), Resnais chose to use a distancing technique by alternating historical black-and-white images of the camps with contemporary colour footage of the sites in long tracking shots.

The film was unlucky in its release ( its planned screening at Cannes was cancelled amid the political events of May 1968 ), and it was almost five years before Resnais was able to direct another film.

After contributing an episode to L ' An 01 ( The Year 01 ) ( 1973 ), a collective film organised by Jacques Doillon, Resnais made a second collaboration with Jorge Semprun for Stavisky ( 1974 ), based on the life of the notorious financier and embezzler whose death in 1934 provoked a political scandal.

With Providence ( 1977 ), Resnais made his first film in English, with a screenplay written by David Mercer, and a distinguished cast that included John Gielgud and Dirk Bogarde.

For this intense chamber work with four principal actors ( Azéma, Arditi, Ardant and Dussollier ), Resnais asked Hans Werner Henze to compose musical episodes which would act as a " fifth character ", not an accompaniment but a fully integrated element of the drama with which the speech of the actors would interact.

After an excursion into the world of comic-books and cartoons ( another of Resnais's enthusiasms ) in I Want to Go Home ( 1989 ), an ambitious theatrical adaptation followed with the diptych of Smoking / No Smoking ( 1993 ): Resnais, having admired the plays of Alan Ayckbourn for many years, chose to adapt what appeared the most intractable of them, Intimate Exchanges, a series of eight interlinked plays which follow the consequences of a casual choice to sixteen possible endings.

* Providence ( 1977 film ), a French / Swiss film directed by Alain Resnais

After leaving the Rank Organisation in the early 1960s, Bogarde abandoned his heart-throb image for more challenging parts, such as barrister Melville Farr in Victim ( 1961 ), directed by Basil Dearden ; decadent valet Hugo Barrett in The Servant ( 1963 ), which garnered him a BAFTA Award, directed by Joseph Losey and written by Harold Pinter ; The Mind Benders ( 1963 ), a film ahead of its times in which Bogarde plays an Oxford professor conducting sensory deprivation experiments at Oxford University ( precursor to Altered States ( 1980 )); the anti-war film King & Country ( 1964 ), playing an army lawyer reluctantly defending deserter Tom Courtenay, directed by Joseph Losey ; a television broadcaster-writer Robert Gold in Darling ( 1965 ), for which Bogarde won a second BAFTA Award, directed by John Schlesinger ; Stephen, a bored Oxford University professor, in Losey's Accident, ( 1967 ) also written by Pinter ; Our Mother's House ( 1967 ), an off-beat film-noir directed by Jack Clayton in which Bogarde plays an n ' er do well father who descends upon " his " seven children on the death of their mother, British entry at the Venice Film Festival ; German industrialist Frederick Bruckmann in Luchino Visconti's La Caduta degli dei, The Damned ( 1969 ) co-starring Ingrid Thulin ; as ex-Nazi, Max Aldorfer, in the chilling and controversial Il Portiere di notte, The Night Porter ( 1974 ), co-starring Charlotte Rampling, directed by Liliana Cavani ; and most notably, as Gustav von Aschenbach in Morte a Venezia, Death in Venice ( 1971 ), also directed by Visconti ; as Claude, the lawyer son of a dying, drunken writer ( John Gielgud ) in the well-received, multi-dimensional French film Providence ( 1977 ), directed by Alain Resnais ; as industrialist Hermann Hermann who descends into madness in Despair ( 1978 ) directed by Rainer Werner Fassbinder ; and as Daddy in Bertrand Tavernier's Daddy Nostalgie, ( aka These Foolish Things ) ( 1991 ), co-starring Jane Birkin as his daughter, Bogarde's final film role.

Night and Fog, the earliest documentary on Auschwitz ( Alain Resnais, 1955 ), includes a description of the Auschwitz Orchestra, an institution organized by the SS to assemble and play selections of German dances and popular songs.

After publishing four novels, in 1961, he worked with Alain Resnais, writing the script for Last Year in Marienbad ( L ' Année dernière à Marienbad ), and he subsequently wrote and directed his own films.

* Alain Resnais ( born 1922 ), film director

She starred in Claude Lelouch's Les Uns et les Autres ( 1981 ), the Alain Resnais comedy, Life Is a Bed of Roses ( 1983 ) and the Jacques Rivette experimental film, Love on the Ground ( 1984 ).

She was also the screenwriter of the 1959 French film Hiroshima mon amour, which was directed by Alain Resnais.

After winning the Golden Lion at the Venice Film Festival, the film attracted great attention and provoked many divergent interpretations of how it should be understood, encouraged by interviews in which Robbe-Grillet and Resnais themselves appeared to give conflicting explanations of the film.

At the beginning of the 1960s France remained deeply divided by the Algerian War, and in 1960 the Manifesto of the 121, which protested against French military policy in Algeria, was signed by a group of leading intellectuals and artists who included Alain Resnais.

Je t ' aime, je t ' aime ( 1968 ) drew upon the traditions of science-fiction for a story of a man sent back into his past, a theme which enabled Resnais again to present a narrative of fragmented time.

The action is punctuated by episodes of song which develop towards the end into scenes that are almost operatic ; Resnais said that his starting point had been the desire to make a film in which dialogue and song would alternate.

Resnais returned to Ayckbourn in the following decade for his adaptation of Private Fears in Public Places to which he gave the film title of Cœurs ( 2006 ).

In spring 2011 Resnais completed filming Vous n ' avez encore rien vu, which again took the theatre as its theme and background, and was loosely based on Jean Anouilh's 1941 play Eurydice.

Another term which appears in commentaries on Resnais throughout his career is " surrealism ", from his documentary portrait of a library in Toute la mémoire du monde, through the dreamlike innovations of Marienbad, to the latterday playfulness of Les Herbes folles.

Resnais filmed the script with great fidelity, making only limited alterations which seemed necessary.

Resnais showed his costume designer photographs from L ' Inhumaine and L ' Argent, for which great fashion designers of the 1920s had created the costumes.

He is widely credited with being one of main authors of the important " Manifesto of the 121 ", named after the number of its signatories, who included Jean-Paul Sartre, Robert Antelme, Alain Robbe-Grillet, Marguerite Duras, René Char, Henri Lefebvre, Alain Resnais, Simone Signoret and others, which supported the rights of conscripts to refuse the draft in Algeria.

He appeared in the 1980 Alain Resnais film Mon oncle d ' Amérique, which is built around the ideas of Laborit and uses the stories of three people to illustrate theories deriving from evolutionary psychology regarding the relationship of self and society.

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.

Examples include Les statues meurent aussi by Chris Marker and Alain Resnais about European robbery of African art ( which was banned by the French for 10 years ) and Afrique 50 by René Vauthier about anti-colonial riots in Côte d ' Ivoire and in Upper Volta ( now Burkina Faso ).

Mercer wrote the screenplay for the Alain Resnais film Providence, in which John Gielgud portrays an elderly, dying writer.

During the winter of 1959 – 1960 Resnais met with Ray in the hope of making a film based on the Harry Dickson character, but nothing came of the project.

In 1953 Marker collaborated with Resnais on the documentary Statues Also Die.

He became interested in European cinema, focusing first on the films of Ingmar Bergman, and then on the French nouvelle vague filmmakers such as Jean-Luc Godard and, most especially, Alain Resnais.

Resnais spent part of that period in America working on various unfulfilled projects, including one about the Marquis de Sade.

From the 1980s onwards Resnais has shown a particular interest in integrating material from other forms of popular culture into his films, drawing especially on music and the theatre.

Resnais remained entirely faithful to the play ( apart from shortening it ) and he emphasised its theatricality by filming in long takes on large sets of evidently artificial design, as well as by marking off the acts of the play with the fall of a curtain.

Resnais is often linked with the group of French filmmakers who made their breakthrough as the New Wave or nouvelle vague in the late 1950s, but by then he had already established a significant reputation through his ten years of work on documentary short films.

In 1969 Resnais married Florence Malraux ( daughter of the French statesman and writer André Malraux ); she was a regular member of his production team, working as assistant director on most of his films from 1961 to 1986.

When he saw the rough-cut, he said that he found the film just as he had intended it, while recognising how much Resnais had added to make it work on the screen and to fill out what was absent from the script.

Commenting on this departure, Resnais said: " I was making this film at a time when I think, rightly, that one could not make a film, in France, without speaking about the Algerian war.

* Still Searching for Lost Time: On Leutrat on Resnais, review essay by Jeremy J. Shapiro in Film-Philosophy, v. 9, no. 39 ( July 2005 ).

Langlois made an important impact on the French New Wave directors François Truffaut, Jean-Luc Godard, Jacques Rivette, Claude Chabrol and Alain Resnais among others, and the generation of filmmakers that followed.

Chaplin has starred in several French-language roles, including Jacques Rivette's Love on the Ground ( 1984 ) and the Alain Resnais films Life Is a Bed of Roses ( 1983 ) and I Want to Go Home ( 1989 ).

His career was diverse and he composed frequently for major art house directors, most often François Truffaut ( including Jules and Jim ), but also for Jean-Luc Godard's film Contempt ( Le Mépris ), and for Alain Resnais, Louis Malle, and Bernardo Bertolucci, besides working on several Hollywood productions, including Oliver Stone's Platoon and Salvador.

Uninterested in the formal experimentation of Alain Resnais, or the political agitation of Jean-Luc Godard, Demy instead created a self-contained fantasy world closer to that of François Truffaut, drawing on musicals, fairytales and the golden age of Hollywood.

Dave Kehr noted in The New York Times that it was Alain Resnais who first put giant rodent heads on his actors in his 1980 film Mon oncle d ' Amérique.

In his book on Resnais, James Monaco ends his chapter on Hiroshima mon amour by claiming that the film contains a reference to the classic 1942 film Casablanca: