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Marguerite Duras embarked on a second career as a film director in the late 1960s; by then was already a well-known and highly acclaimed novelist and playwright. Bearing in mind this dual influence, this book presents an outline of Duras's early life and of her later political preoccupations, highlighting the relationship between these two dimensions and her films. Duras's aim was to transcend the limitations of both literature and cinema by creating an écriture filmique. Working within the 1970s French avant-garde, Marguerite Duras set out to dismantle the mechanisms of mainstream cinema, progressively undermining conventional representation and narrative and replacing them with her own innovative technique. The making of Nathalie Granger in 1972 coincided with the period of intense political activity and lively theoretical debates, which marked the early years of the post-1968 French feminist movement. India Song questions the categories of gender and sexuality constructed by the patriarchal Symbolic order by foregrounding the Imaginary. Agatha mirrors transgressive relationship and quasi-incestuous adolescent relationship, as the film resonates with the off-screen voices of Duras and Yann Andréa who also appears on the image-track where he represents Agatha's anonymous brother. Her work, both in literature and in film, distinguishes itself by its oblique, elusive quality which evokes her protagonists' inner landscape instead of dwelling on the appearances of the external world.

relationship, is also reminiscent, of course, of Duras’s quasi-incestuous adolescent relationship with her brother Paul. Agatha mirrors both relationships, as the film resonates with the off-screen voices of Duras and Andréa who also appears on the image-track where he represents Agatha’s anonymous brother. Following the credit sequence and the by now familiar black screen, the film opens with a shot of an extract from the play

in Marguerite Duras