This enigmatic film still hasn't yielded all of its mysteries - mostly because the viewer is awarded complete freedom to give its intricate rythms and figures the significations he or she perceives. The brilliant soundtrack, which combines a textured set of voice-overs and somber organ music, induces reverie... but a reverie highlighted by brief and unforgettable nightmares ('Marienbad' is unsettling to a degree that few movies are). The film's world is above all artistic: it is a 90-minute visit inside a museum of mirrors, statues, photographs and paintings; the characters themselves assume all of these roles over the course of the work. The cinematic image feeds on other images - some are seen in mirrors, others come from illustrations. Everything, from theme to form, is absorbed and transformed by art; this is in line with the notion of "l'art pour l'art" championed by 'Marienbad' writer Robbe-Grillet at the time. The film also has connections with Resnais' own work: memory is as much preserved as it is artistically constructed, and 'X' (Albertazzi) can be read as an artist-figure - something Resnais would return to in 'Providence' (1976). It is tempting to envision the Marienbad chateau and its surroundings as a dedalian labyrinth whose Minotaur lies just out of reach... but this is only one possible reading among countless others. This unique masterpiece should be seen again and again.