Reconciling history in Alain Resnais's 'L'Annee derniere a Marienbad' (1961)

In this article the authors think through the difficulty of placing boundaries on the texts that function as testimony. Through a close analysis of sub-narrative elements in 'L'Annee derniere a Marienbad' particularly at the level of the film's gestural economy, including its cinamatography, the authors track how the film presents visual echoes, after-images of Holocaust experience.