What Renais was working toward in much of his later work was a kind of reification of the artificial. This is done not only for the sake of purity. This is done not at all for the purposes of abstraction. It is about life (and death). There is a philosophy at work here. The world itself is a curious morass of questionable repute, Resnais seems to insist, and we are dreaming our way through it. Reality isn't serious.
A descendant of "Smoking/No Smoking", by the adapted author and by the adopted theatrical staging, sets, light. Without the complexity of the previous film and with an admirable use of exterior dollies and paintings of the spaces of representation as scenes introductions. The actors are a too obvious scheme, but the ironic softness that endures is a fair triumph of the great filmmaker that Resnais was.
Seis atores, três casais e, claro, George Riley! E é assim que se monta uma farsa de vida e morte, no cinema, no teatro, em quadrinhos, enfim a alegria expressa em “AMAR, BEBER E CANTAR”, uma espécie de ratatouille nos prazerosos campos de Yorkshire com sabor de primeiro amor, de primavera, de arte e um pouco de amargor também.
Great set and visual ideas for this very last film of the great Resnais. This will surely remind you "Smoking/No Smoking" or even " Le chant du Styrene". It is all fake, theatre, plastic, artefact, green screen, acting. But emotions fight their way against this obvious artificiality and Resnais wins in all in the end. A last film between friends. A last attempt at experimenting another stage-like cinema.