“We were sick with hope, those of us from ‘68,” Marguerite Duras remembers in the title essay of her last collection, Writing, published in 1993. In it, Duras muses in an unfurling, associative manner about her craft, about a separation from others, about solitude. But she also understands, and as that quote suggests, that the rippling hope gained from her participation in the the May ‘68 protests in France, was as she notes, “incurable”—eternally fixed to her art.
Growing up in the countryside just outside Paris, filmmaker Oliver Assayas was only 13 in 1968. He was too young to participate in the May protests or even understand what was happening. He did, however, come of age in its wake; and his most recent film, Something in the Air, follows a group of teenage friends who interpret for themselves through film, books, art, conversations with parents, dissent, sex, and travel, the revolutionary aftermath of ‘68. The original title, translated from French, is “After May.”