Der Krieg ist vorbei

Yves Montand, Ingrid Thulin, Michel Piccoli, Alain Resnais und sterile, leere Schwarz-Weiß-Bilder. Die formale Seite ist nur selten in der Lage, die Aufmerksamkeit auf ihre raffinierten Lösungen zu lenken und so den Rezipienten aus seiner Lethargie zu wecken, wenn die Erzählung selbst so flach ist. Oder von dem Schock zu heilen, dass so viele der vorhandenen erotischen Szenen völlig asexuell sind. (03.12.2011)

To end your war when Europe has lived in peace for a generation, to start living normally, or to die in exile in a futile struggle, to be at home again, to be human again. Erotic scenes as a symbol of liberation from the duties and virtues of a professional revolutionary. Affection for Nadine is an example of an attempt to escape from her current life - Nadine is also called Nana (see Zola), in addition, she calls Diego (Domingo) "Dimanche," which means Sunday. On Sunday, one does not work, and the famous Nana from the novel does not need to be introduced. The film is once again endowed by Resnais with a multitude of premonitions and above all premonitions. They beautifully illustrate the protagonist's uncertainty about the future – the many flashforwards (from which the viewer expects to be provided with an adequate glimpse into the future as it is "truly" going to happen, or happened, since the story, in order to be fully filmed, had to first happen and occur just as it did...) end somewhat differently during the course of the story than we originally expected, and in the way the protagonist imagined. Well, the future in both the film and reality often ends differently than we desire. For bored viewers, it should be noted that they will not find a garrote or anything similar in the film. (15.10.2014)