Low-key in tone, it does not seem like the sort of “art film” designed to break new ground. ‘ Destroy, She Said unfolds in the garden of a country hotel adjoining a forest that threatens the soigné guests (Michael Lonsdale, Henri Garcin, Nicole Hiss, Catherine Sellers) in some strange, difficult-to-define way comparable to to the “something” that so unsettles the upper-crust swells in Edward Albee’s A Delicate Balance. For while Hiroshima Mon Amour, the screenplay she wrote for Alain Resnais to direct, became an international success in 1960 (and remains a touchstone of “art cinema” to this day), the films she subsequently created on her own, beginning in 1969 with Destroy, She Said, have been alas, for the happy few. ‘ The Marguerite Duras retrospective at the Film Society of Lincoln Center this month-18 years after the celebrated auteur’s death-presents an ideal opportunity to contemplate her place in the history of cinema. From Intense Vocalization: Marguerite Duras
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