I found
Resnais' latest effort every bit as baffling as his New Wave era films. This was only surprising because the reviews made it sound like
Wild Grass would reveal a softer side to the philosophical puzzle-master. Apparently, he had set aside his heartless experiments to create something with more feeling, even some narrative. Not that I have never thought of
Last Year at Marienbad or
Hiroshima Mon Amour as heartless formalism at all. To me, they are deeply moving.
Wild Grass may be masked in a narrative of unrequited love (albeit, a circuitous one), but it is still filled with
Resnais' calling cards, and then some. Notably, when each character is introduced, it takes a good five minutes for us to see their face; we are stuck in their point of view for a while, within their actions, before we really get a sense of who they are. Is the purpose of this to set up a fusion between character and viewer? Who really knows. In addition, there are many points of view to juggle. There is an omniscient narrator carrying us along, as well as internal monologues, and a camera that sometimes drifts aimlessly as if it has become bored of its subjects.
I honestly don't have enough time to spend on this as I would like (I'm currently taking advantage of friends' hospitality until the 1st when my apartment becomes mine). But here's what I've got: