Alain Resnais’ dialectical unity of contrasts — In the synopsis of her screenplay for Hiroshima, mon amour (Alain Resnais, 1959), Marguerite Duras explains the decision to film a love story in Hiroshima. Why choose Hiroshima over any other place in the world? The question might well have remained rhetorical, but Duras offers the following justification for the…