N. a Pris les Dés... (1971)

aka N. Took the Dice

Music lovers will probably be familiar with the concept of a remix. Alain Robbe-Grillet did something similar with his L'éden et Après (1970) film. Constructed from outtakes, alternate and unused footage, N. a Pris les Dés... is essentially the same story but from a different character's perspective. It comments on its own design, how in scripted drama one thing follows another thing according to a set of rules. Then, equated to a dice roll, it arranges itself in a less straightforward manner. More than just a professed justification for being non-linear, it develops meaning through repetition and reinvention, unified by self-analysis and its relationship to the original film. The bizarre soundtrack helps the imagery gel, but as a narrative in its own right it may confound. As a companion to L'éden et Après, however, it's effective.

3½ stolen gazes out of 5

L'éden et Après (1970)

aka Eden and After / Oltre L'Eden

The 'plot' of Alain Robbe-Grillet's first colour film is revealed gradually but not before he sets a visual and conceptual precedent of timeless beauty wherein clarity is subservient to implied meaning. The Café Eden, in which the people spend a lot of their time, is a Piet Mondrian painting brought to life. The filming technique within that space is astonishing. Each time I was on the verge of tiring of the game a timely change occurred making everything fascinating again. It's a Left Bank masterpiece of vibrant colour and perfect lighting. Anyone unfamiliar with French cinema prior to watching will be in for a shock or a treat depending on their individual likes and dislikes. If you enjoy L'éden et Après, you may want to seek out N. a Pris les Dés... (1971) next.

4 faces, objects, gestures out of 5

Le Samouraï (1967)

The image of an enigmatic lone assassin in a hat and trench coat, driving a stolen car is a powerful one. Equally as powerful is the confidence of Melville, who created a hugely influential work of art in Le Samouraï.
It explores the feelings and actions of the assassin when a job he was hired to perform goes badly. It doesn't waste time with unnecessary exposition, or even with dialogue much of the time, because the protagonist’s precise movements and direct response to stimuli tell us what we need to know about him. Despite the shrewd attention to detail an important part of it is left open to interpretation, so may annoy some viewers.

4 methods out of 5