Around the conventional sci-fi gimmick of time travel (post-WWIII), Chris Marker develops a love story and a meditation on memory that puts you in mind of Resnais. (He collaborated on some of Resnais's shorts in the Fifties, and was included, with Resnais, in the Left Bank group of the New Wave, rather than in the Cahiers constellation.) He composes the movie entirely in still shots, except one; and the gamble he takes is that the novelty will hold up throughout the movie's length. Even at a mere 29 minutes, he is stretching his luck. (Five years later, Resnais also used the time-travel premise to shape a love story and a meditation on memory, Je T'Aime, Je T'Aime, and it was a better movie by approximately a parsec.) (1962) — Duncan Shepherd
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