The Cosford Cinema is pleased to present a new retrospective on the work of Alain Resnais – DEJA VU: RETURN TO RESNAIS – to celebrate the release of his latest work YOU AIN’T SEEN NOTHIN’ YET. The series, supported by the French Consulate, includes a special collection of short works (entitled RESNAIS, BRIEFLY) and three presentations on 35mm including the classic LAST YEAR AT MARIENBAD, STAVISKY…, and Resnais’ English language debut PROVIDENCE. Please join us for these special presentations from one of cinema’s true masters.


Not just a defining work of the French New Wave but one of the great, lasting mysteries of modern art, Alain Resnais’ epochal LAST YEAR AT MARIENBAD has been puzzling appreciative viewers for decades. Written by radical master of the New Novel Alain Robbe-Grillet, this surreal fever dream, or nightmare, gorgeously fuses the past with the present in telling its ambiguous tale of a man and a woman (Giorgio Albertazzi and Delphine Seyrig) who may or may not have met a year ago, perhaps at the very same cathedral-like, mirror-filled château they now find themselves wandering. Unforgettable in both its confounding details (gilded ceilings, diabolical parlor games, a loaded gun) and haunting scope, Resnais’ investigation into the nature of memory is disturbing, romantic, and maybe even a ghost story.

Directed by Alain Resnais.
France. 94minutes. 35mm Film.
1964. Black + White. French with English Subtitles.

This film by French director Alain Resnais is loosely based on a true story from the 1930s about financier, con-man and swindler Stavisky who was arrested in 1934 for selling phony stock but was never brought to trial. While in jail, he continued to engage in doubtful monetary transactions. As the rumors that he was being protected by high-ranking members of the government of the French Third Republic were undoubtedly true, the scandal had a profoundly unsettling effect on the French nation, already suffering from poor government handling of the Depression, and this incident nearly brought down both the government and the Republic. Stavisky’s death in prison (an apparent suicide) triggered widespread unrest and rioting. In the movie, when Stavisky (Jean-Paul Belmondo) goes to jail as a young con-man, his embarrassed father commits suicide. Ruining countless lives in his stellar career as a big-money swindler, including that of his nobleman friend Raoul (Charles Boyer), Stavisky is shown to be a pawn in a still bigger swindle, one which will destroy the Left and open the way to fascism.

Directed by Alain Resnais.
France. 115minutes. 35mm Film.
1974. Color. French with English Subtitles.

The film describes the process of literary creation. Part of the plot takes place in the mind of Clive Langham, a celebrated writer who is aware that he is on the point of dying and who, on the eve of his seventy-eighth’s birthday, conceives during the night his last novel, where he writes about himself, his memories, with the members of his family representing the principal characters, the ties and divergencies that exist between art and life are revealed Clive Langham’s phantasms have given birth to the outline of his novel. But while thinking he was depicting the others, he was in fact revealing certain hidden aspects of his own character.


A special collection of short films by Alain Resnais shown for the first time collectively. The collection includes early and later works including GUERNICA (1950), STATUES ALSO DIE (1953), TOUTE LA MEMORIE DU MONDE TATUES (1956), LE CHANT DU STYRENE (1959), and LEST WE FORGET: POUR ESTEBAN GONZALEZ GONZALEZ, CUBA (1991).

Directed by Alain Resnais.
France. Digital Projection. Subtitled.


Based on two works by the playwright Jean Anouilh,YOU AIN’T SEEN NOTHIN’ YET opens with a who’s-who of French acting royalty (including Mathieu Amalric, Michel Piccoli and frequent Resnais muse Sabine Azema) being summoned to the reading of a late playwright’s last will and testament. There, the playwright (Denis Podalydes) appears on a TV screen from beyond the grave and asks his erstwhile collaborators to evaluate a recording of an experimental theater company performing his Eurydice–a play they themselves all appeared in over the years. But as the video unspools, instead of watching passively, these seasoned thespians begin acting out the text alongside their youthful avatars, looking back into the past rather like mythic Orpheus himself.

Gorgeously shot by cinematographer Eric Gautier on stylized sets that recall the French poetic realism of the 1930s, YOU AIN’T SEEN NOTHIN’ YET is an alternately wry and wistful valentine to actors and the art of performance from a director long fascinated by the intersection of life, theater and cinema.

Directed by Alain Resnais.
France. 115minutes. Digital Projection.
2013. Color. French with English Subtitles.