Hiroshima mon amour is an acclaimed 1959 drama film directed by French film director Alain Resnais, with a screenplay by Marguerite Duras. The title literally translates from French to English as 'Hiroshima, My Love', though the film is almost always referred to by its original French title. It is the documentation of an intensely personal conversation between a French-Japanese couple about memory and forgetfulness. It was a major catalyst for the Nouvelle Vague (French New Wave), making highly innovative use of miniature flashbacks to create a uniquely nonlinear storyline.
One of the first flashbacks in the movie shows up after powerful beginning when the main character (French actress) takes a Japanese lover who reminds her of her first love, a German soldier who was killed in Nevers during the World War II. The problem of time and it’s relationship to the present is solved in unusual way- the woman watches her Japanese lover as he sleeps and his arm is twisted. When she sees his hand, Resnais cut back and forth between a close-up of the hand and a midshot of the woman. After moving in closer, he cut from the midshot of the woman to close-up of another hand (a hand from the past), then back to the midshot and then to a full shot of a dead german lover, his hand in exactly the same position as that of the Japanese lover. The full shot shows him bloodied and dead and the film then cuts back to present.