Between two fires

by Alain Resnais

The lock on a door clicked, and I managed to jump up before the chamber included the nurse. Appearance of the nurse meant that there came breakfast time. Morning meal to last from seven till nine in the morning here, exactly two hours as not all patients of psychiatric clinic behave as quietly as I and many others. To have to connect or dress some in a strait jacket to feed violently because some mentally sick patients flatly refuse meal. But it definitely not about me. First, I here voluntarily. Secondly, I not mentally sick and even not a bad person, therefore as one very young hospital attendant joked, it will be interesting to connect me only in one case. The hint was obviously trite character, but the guy it good, we communicate with it much. I it to you as the witch I speak.

231 pages, Kindle Edition

Published July 14, 2017

About the author

Alain Resnais (French: [alɛ̃ ʁɛnɛ]; 3 June 1922 – 1 March 2014) was a French film director whose career extended over more than six decades. After training as a film editor in the mid-1940s, he went on to direct a number of short films which included Night and Fog (1955), an influential documentary about the Nazi concentration camps.[1]
Resnais began making feature films in the late 1950s and consolidated his early reputation with Hiroshima mon amour (1959), Last Year at Marienbad (1961), and Muriel (1963), all of which adopted unconventional narrative techniques to deal with themes of troubled memory and the imagined past. These films were contemporary with, and associated with, the French New Wave (nouvelle vague), though Resnais did not regard himself as being fully part of that movement. He had closer links to the "Left Bank" group of authors and filmmakers who shared a commitment to modernism and an interest in left-wing politics. He also established a regular practice of working on his films in collaboration with writers usually unconnected with the cinema, such as Marguerite Duras, Alain Robbe-Grillet and Jorge Semprún.[1][2][3][4]
In later films Resnais moved away from the overtly political topics of some previous works and developed his interests in an interaction between cinema and other cultural forms, including theatre, music, and comic books. This led to imaginative adaptations of plays by Alan Ayckbourn, Henri Bernstein and Jean Anouilh, as well as films featuring various kinds of popular song.
His films frequently explored the relationship between consciousness, memory, and the imagination, and he was noted for devising innovative formal structures for his narratives.[5][6] Throughout his career he won many awards from international film festivals and academies.