The film revolves around the French actress Béatrice Dalle who plays the French actress Béatrice Dalle in a Japanese film. The film in the film is a Japanese remake of the famous French classic Hiroshima mon amour (1959) by Alain Resnais. So Dalle does not just play herself as actress, she also has to literally follow in the footsteps of Emmanuelle Riva who played the lead in the original film. In the film-in-the-film, she plays an actress who has come from France to Hiroshima to play a role in a film about peace. The film looks at itself in the mirror and sees a film is also looking at itself in the mirror. If there is one film that aptly fits this looking glass theme, then this is it. Suwa himself plays the filmmaker making the film who eventually doesn’t succeed in his ambitious mirror images of film and history, history and film. Suwa, himself born in Hiroshima, takes this indirect path in an attempt to express something of the tragedy of the city that cannot be directly designated. Between the scenes on the set, there are several documentary-like conversations between Suwa and the well-known novelist Kou Machida. The essayist character of the film and the impossibility of portraying the horror of Hiroshima are strengthened by these conversations, and by the recurring archive footage of the devastated city. –IFFR
Nobuhiro Suwa (諏訪 敦彦, Suwa Nobuhiro, born May 28, 1960 in Hiroshima, Hiroshima Prefecture) is a Japanese film director. His directorial works and screenplays often make use of improvisation techniques. Currently, Suwa is the President of Tokyo Zokei University.
Having graduated from Hiroshima Prefectural Hatsukaichi High School (located in Hatsukaichi, Hiroshima), Suwa studied at Tokyo Zokei University, under the tutorship of Nobuhiro Kawanaka. While at the college, he began working producing independent films, of which Hanasareru Gang was chosen for the Pia Film Festival. After graduating from Tokyo Zokei, Suwa began directing television documentary films, and worked with directors such as Sōgo Ishii and Masashi Yamamoto.
In 1996, his feature film directorial debut, 2/Duo (2/デュオ, 2/Dyuo) was released. Suwa’s second film, M/Other, was released soon after in 1999, winning the prestigious FIPRESCI Prize at the 1999 Cannes Film Festiva and being the subject of several other… read more
Given the film's tumultuous production history (which, ironically enough, is what the final product details to an extent), it's not surprising to see that it's a tad on the self-contained side, but Suwa admirably manages to ponder a couple of Resnais' key concerns in Hiroshima mon amour, namely the dialectic between sound and image and the subjectiveness of memory. Suwa's most complex film to date.