[In "India Song," Marguerite Duras's] most perfectly realized film, the present is in a constant state of deliquescence. As in her previous films, the voices function as an echo chamber whereby the past is imprinted and repeated to infinity….
The fact that it is possible to enjoy [the] characters, to come under the film's spell, and not see it as a parable about the imminent demise of the bourgeoisie is perhaps as much a function of Duras's ambivalence as the audience's, and a triumph of style and an instinctive woman's empathy over strict ideology….
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