This article intends to investigate the possibility of memory and representation of the catastrophe from the perspective of the film Hiroshima mon amour (1959), with scripts by Marguerite Duras and direction by Alain Resnais. It starts with a brief introduction on what can be defined as literature with a testimonial content, which arises mainly after the World Wars in the XX century. Then it attempts to situate the work of Marguerite Duras, and the film more specifically, under the testimonial light. Finally, it dives into the question of the limits of possibility and impossibility of witnessing and testifying about Hiroshima.
