This master filmmaker put the unspeakable trauma on screen in a way that nobody else ever really has.
The Big Picture The nuclear bomb has been a cinematic staple since its creation. For comedy in Dr Strangelove, as a superhero macguffin in X-Men: First Class, as a bizarre setpiece in Indiana Jones and the Crystal Skull, and most recently, in Christopher Nolan's Oppenheimer, detailing the life and struggles of its creator, J. Robert Oppenheimer.
Hiroshima Mon Amour was his first foray into a fiction film, and the subject was one that had not really been done in the West before. Plenty of Japanese filmmakers had made films that directly or indirectly discussed the bombings as they related to Japan, but American films only dealt with the creation and dropping of the bombs themselves. The most notable example of the difference in how we discussed nuclear bombs is the changes made in the American version of the original Godzilla.
As the woman recounts everything she saw in Hiroshima, the hospital, and the museum dedicated to the bombing, the man replies with the same phrase. "You saw nothing in Hiroshima." To which the woman replies, "I saw everything in Hiroshima." This is all intercut with real footage of the museum, of the hospital. We see close-ups of melted bottle caps in a giant mass, mangled steel beams, and more as she recounts more and more of what she saw in Hiroshima.
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