Something apart from the buildings did strike me, though. The cinematography itself. I saw many similarities with L'Année dernière à Marienbad. Which, to be completely honest, pays a big tribute to architecture as well, however I found the number of similar scenes disturbing. This is not to say they were in any way copied, but is this just simply all the possible compositions of characters & buildings that one can make on film?
To illustrate my point:
To start off, let's start with a standard run-of-the-mill couple shot. Being all proud, and ignore the puppet-like silhouettes in the background
A couple lovingly juxtaposed in a comfortable corner, in relation to the building
Puppets sprinkled along the scene, interplaying with the (architectural) background
The glory shot (slightly off-centre of course, let's not be crude)
Legendary. The firing squad. Aeon surprisingly less puppet-y (but do note the glipse of Architecture in the background!)
The detailed glory-shot (just in case you missed it, this film is about buildings)
Centered couple walking down a corridor (note how the genders are positioned the same)
Character posing in the foreground, with a glorious (constructed) background
I was doubly surprised to find this in both films, but surprised further still when I realized I found it in both films
The chairs & table as turning point of the story, encased in a heavy layering of House
Of course, this list wouldn't be complete with the surrealist scene from Marienbad. Unfortunately there isn't any adequate imagery in Aeon, but this is the closest I could find
And, of course. The couple and the House. Centered.
the imagery is probably © Alain Resnais for Marienbad and © Paramount Pictures for Aeon
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