Mélo (1986) review

Flat theater meets with a flat stage play and the result is … well, flat. The love triangle material is surprisingly ordinary for the generally imaginative and intellectually adventurous Resnais, and some seem to praise this minimalist experiment - to me, lending an air of class and calm to a routine play is nothing to celebrate. Coming to this after seeing Resnais' 2006 film Private Fears in Public Places shows where he would take the cinema-as-theater approach (and bring Sabine Azéma back!), but this - aside from earnest performances - is truly unremarkable.