Duras as a screenwriter continues her exploration of memory, which was conceived with the Resnais trip that was Hiroshima Mon Amour. With her HMA collaborator, then editor, now director Corpi, she creates a more linear, grounded story, of significant emotional weight. A woman encounters a amnesiac drifter, whom she believes is her husbands, lost in war many years ago. So determined is she in finding the clear answer that the tramp's privacy is invaded, and he is bombarded with precious things from their potentially shared past. Dancing to sonatas, reciting poetry and tasting wine galore! We as viewers never find the concrete answer, whether the wandered found out his memories or is he really the husband, such is Marguerite's trope, but as usual it is not of utmost importance. What is of value, however, is Vali's dealing with grief, lingering recollections, longing and how her Theresa goes from stoic to broken.