• 1936 The Adventure of Guy (short)
    1946 Diagram of an identification
    1946 Opened due to inventory
    1947 Visit to Oscar Dominguez (short documentary)
    1947 Visit to Lucien Coutaud
    1947 Visit to Hans Hartung
    1947 Visit to Félix Labisse
    1947 Visit to César Domela
    1947 Portraid d'Henri Goetz
    1947 Nestlé milk
    1947 The ring
    1947 Alcohol Kills (shorts)
    1947 Natural Day
    1948 Van Gogh I (short)
    1948 Van Gogh II (short)
    1948 Malfray (short documentary)
    1948 The Gardens of Paris (shorts)
    1948 Castles of France
    1950 Guernica (short)
    1950 Gauguin (short)
    1950 Pictura (documentary) ("Goya" bölümü)
    1953 Statues Die Too (short documentary)
    1955 Night and Fog (short documentary)
    1956 All the Memory of the World (short documentary)
    1957 The Mystery of Workshop Fifteen (shorts)
    1959 Hiroshima
    My love
    1959 The Song of Styrene (short documentary)
    1961 Last Year in Marienbad 1963 Muriel
    or the time of return
    1966 The war is over
    1967 Loin du Vietnam (belgesel9 (segment "Çlaude Ridder")
    1968 I love you I love you
    1973 L'an 01 (segment "Sequence de New York")
    1974 Stavisky...
    1977 Providence
    1980 My Uncle from America
    1983 Life is a Novel
    1984 Love to death
    1986 Melo
    1989 I Want to Go Home
    1991 Contre l'oubli (segment "Pour Esteban Gonzalez Gonzalez
    1993 Smoking/No Smoking
    1997 same old song
    2003 Not on the Mouth
    2006 Hearts
    2009 Wild Grass
    2012 You ain't seen nothing yet
    2014 Loving
    drink and sing


  • My American Uncle
    (My Uncle from America)

Alain Resnais

Born in Vannes, Britanny, 3 June 1922. Alain Resnais is a prominent figure in the modernist narrative film tradition. He began making 8 and 16 mm films while he was young. In the early 1940's he studied acting and filmmaking, and after the war between 1946-48 he made a number of 16 mm films including a series about artists. His emergence as a feature director of international repute is affiliated with the eruption of the French New Wave in the late 1950s. However, Resnais had less to do with the group of directors emerging from the context of the "Cahiers du Cinema" than he did with the so-called Left Bank group, including Jean Cayrol, Marguerite Duras, Chris Marker and Alain Robbe-Grillet. All of these people are known as writers and / or filmmakers in their own right; their association with Resnais is indicative of his talent for fruitful creative collaboration. Through editing and an emphasis on formal repetition, Resnais uses the medium to construct the conjunctions of past and present, fantasy and reality, insisting on the convergence of what are usually considered distinct domains of experience. His strategies of fragmented point of view and multiple temporality, as well as his use of the medium to convey past / present and fantasy / imagination / reality as equivocal and equivalent modes of experience have amplified our understanding of film's capacity for expression.