In 2010 L'IMEC which runs Alain Robbe-Grillet's fund, asked Volker Schlondorff (together with Bernard-Henry Lévy who coproduced the film) to comment some previously unreleased footage made by Françoise SPIRA during the shooting of Last Year in Marienbad.
Françoise Spira was in the cast and filmed the shooting in super 8 between the takes.
After she passed away, her husband exhumed these rolls and entrusted them to Alain Robbe-Grillet.
The choice of Schlondorff was obvious for he was Resnais'assistant on the film and mostly because his recollection seems to resurface with the discovery of those pictures just as Delphine Seyrig's memory seems to wake up with Giorgio Albertazzi's voice in Marienbad itself.
Though the film itself is rather poor (no sound except Schlondorff's voice over and some extracts from Resnais'film), there's a must to see moment of strange collision between Marienbad and "Night and Fog" when Spira, Schlondorff, Sacha Pitoef and his wife take advantage of a break to visit a village which celebrates the "october feast" a few yards from Dachau.
Once again, Resnais' masterpiece generates mystery and fascination.

本片根据真人真事改编，揭示了一位精神失常但极具天赋的女性的痛苦生活。阿洛伊斯（德尔菲娜-塞里格 Delphine Seyrig 饰）在上世纪初的瑞士被关押在精神病院时，创作了一系列令人魂牵梦萦的画作。在她还是一个有音乐天赋的女孩时，以及后来成为一名年轻女子时，她经受了种种折磨；她逐渐变得疯狂的经历和当时的野蛮待遇都在影片中得到了展现。

访谈杜拉斯，关于《印度之歌》

In the story of Reperages, Victor (Jean-Louis Trintignant) is a film director who has arranged to shoot a version of Anton Chekhov's play The Three Sisters. Casting her in the lead will enable his troubled wife, who has separated from him, to earn some money and receive some much-needed emotional support. Julie (Delphine Seyrig), his wife, has a drug problem, but Cecilia (Lea Massari), her co-star, happily approaches her with just the right kind of off-camera friendship to keep her going...

Superbia — The Pride is the first of the Seven Deadly Sins.
The introduction is made thorugh early allegorical forms and figures (triumphal procession, dance of death, Baroque tragedy etc.) The triumphal procession of the giant haystack as a symbol of human vanities becomes a military parade of abrupt, functional and arrogant gestures. The most diverse musical fragments and rhythms intone the montage of details in the staged triumphal procession, juxtaposed with documentary images, including marches, ticker-tape parades and military review.

一家发廊里的三个年轻女子都喜欢商场对面服装店老板的儿子Robby。虽然Robby自私肤浅，但他吸引了时尚的发廊经理Lili，也吸引了天真甜美的Mado和聪明但消极沮丧的Pascale。Robby的父亲告诉他要成长并看到多变的Lili之外，于是他突然向Mado求婚。她很高兴，但在婚礼前一天，Lili又回来看望Robby。在背景中，一位曾在第二次世界大战中作为士兵在法国的美国人回到巴黎，试图重新赢回他的战时恋人，也就是Robby的母亲的爱。

电影改编自玛格丽特·杜拉斯的戏剧《音乐》， 讲述了一对夫妻正式分居后，时隔三年再度相逢，他们回到了曾经居住过的城市并提出离婚。影片精确地描述出了虽然短暂存在，但含义深刻的场景，就像回忆一样，稍纵即逝。男女主角各自忧郁的表演大放异彩，其中，女主角的金色波波头再度唤醒三十年代著名演员莉莉安·塔什曼的标志发型。(豆瓣电影字幕翻译2.0小组)

This sixty-nine-minute documentary, shot by Sami Frey and edited by Agnès Ravez and Chantal Akerman, was made during the shooting of Jeanne Dielman and looks at the on-set relationship between Akerman, Delphine Seyrig, and the crew.

本片改编自玛格丽特·杜拉斯的同名小说。薇拉·巴尔斯泰尔（克劳迪恩·嘉贝饰）是一个冷淡疏离的三十多岁女人。她独自坐在蒂永维尔的别墅里，考虑着是否要用出轨的丈夫让·巴尔斯泰尔的钱租下这栋房子。随后她接连被两个女人拜访，一位是他丈夫的情妇，因为经常听到让提起薇拉而好奇，另一位则是在当地的酒吧听到薇拉的名字而觉得有趣的陌生女子。（豆瓣电影字幕翻译2.0小组）

In his interview on Facet Video's DVD of Diary of a Suicide (Le journal d'un suicidé), Serbian director Stanislav Stanojevic mentions a French arts body that dispenses funds for creative filmmaking, and remarks that Luis Buñuel received more money than he did! This early 70s art film depends for its reputation on a quote by François Truffaut, who may have not seen the film, but had high praise for its screenplay.
Diary of a Suicide plays very much like a brief episode in a Buñuel film, but padded to feature length and communicating little beyond a vague nihilism. Busy actor Sami Frey is a handsome young man on a pleasure cruise on the east coast of Spain. He flirts with an attractive fellow passenger (Delphine Seyrig). Neither is given a name. No matter how much the man coaxes, the woman refuses to remove her sunglasses. They visit a church in Barcelona but mostly talk on board ship while watching seagulls.
The smiling woman encourages the young man to entertain her with a beautiful story. He responds with several morbid, interlinked anecdotes. A man (Bernard Haller) stands before a mirror, unable to make himself smile. Another man faces a firing squad. Anarchist lovers (Marie-France Pisier & Roland Bertin) fail to carry out an assassination. Wounded, she wants to die but is given a life sentence. Her jailer (Sacha Pitoëff) cannot sleep because he was brain-damaged in a war. That infirmity allows him to watch his prisoner around the clock. The jailer explains that his mind holds only one memory, of a beautiful woman he once knew. Should he forget her as well, the jailer reasons, his life will no longer have a purpose.
The female cruise passenger seems pleased by the young man's efforts to seduce her, but she has withheld a wicked surprise.
Unfortunately, Diary of a Suicide is a weak and uninvolving slice of mannered filmmaking. Scenes with the two main actors seem arbitrary and haphazard. Many of their encounters are staged against blank walls, and some dialogue scenes avoid showing lips, as in the cheapest of post-dubbed low-budget productions. Except for a few color inserts, all of the shipboard scenes are in B&W. Some of the young man's stories are tinted in various hues. The compositions are rarely framed wider than a medium shot, producing a feeling of claustrophobia.
With its nameless lovers and stories within stories, director Stanojevic's puzzle picture is more than a little reminiscent of Alan Resnais' Last Year at Marienbad, minus that film's elegance and compelling dreamlike surface. Little tension develops between the shipboard reality and the man's bizarre stories. A melancholy singer performing aboard the ship appears to represent the mystery woman of the jailer's tale. The singer's actor-husband dresses similarly to the jailer, and carries out the jailer's suicide as part of his act. With the exception of Sacha Pitoëff's morose jailer, none of the story characters connect with the audience. The gaunt, sad jailer truly looks like a man haunted by his loss of memory.
Stanislav Stanojevic's main coup for his first film is the gathering of an impressive cast. He's secured the services of Seyrig and Pitoëff, two of the stars of Last Year at Marienbad. Sami Frey and Marie-France Pisier have appeared in films by Agnès Varda, Georges Franju, William Klein, Jean-Luc Godard, H.G. Clouzot, François Truffaut, Alain Robbe-Grillet, Luis Buñuel and Jacques Rivette.
Director Stanojevic made two more features blending political themes with aspects of the fantastic. 1979's Subversion is about a country ruled by a paralyzed, blind president and his corrupt daughter. Diary of a Suicide has images of soldiers used as cannon fodder and anarchists dedicated to an assassination, but makes no real political statement. Its final twist is indeed a surprise, but an almost pointless one.
Facets Video's DVD of Diary of a Suicide is an acceptable flat transfer with English subtitles. For an extra we're given a lengthy video interview with the director. Stanojevic doesn't discuss Diary at length, preferring to give an unfocused talk about film funding and filmmaking in general.

Story of an unacknowledged love in Victorian England. A man spends his life, alongside a woman who is dear to him, waiting for the momentous event that should change his destiny.

Delphine Seyrig répond avec réticence mais courtoisie et professionnalisme aux questions volontairement personnelles de Claude Lanzmann. Une interview rare, extraite du magazine télévisé Dim Dam Dom.