She: I saw everything. Everything(Hiroshima, Mon Amour a film written by Margurite Duras)
And I remember Hiroshima, Mon Amour and Margurite Duras. This film implies a powerful critique of nuclear war.
Deform me, to the point of ugliness
Why not you?
Why not you in this city and in this night
"Beyond the museum reconstructions, there is the memory of the media documentation in process, of being witness to the making of history through newsreels. (The actress) insists, if not upon the credibility of the newsreel, at least upon the phenomenology of having seen the newsreels. Her voice becomes more urgent, and the images move frantically as well. The image track shows actual newsreels taken after 6 August 1945, crosscut with shots of the lovers in shadow:
The progression of days passing, each documented and archived for its developments and departure from the previous images, attests to a history, a linear mode of narrative captured for all eternity. But he interrupts:
Next we have the beginnings of the theme that brings the oppositions of the horrible and the beautiful into an uneasy alliance. As she speaks of beautiful flowers we see images of children, of gaping wounds being probed with instruments, burns, fingers missing, an eye being extracted:
(Duras 1961: 18-19)