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Resnais, famed for two classics, the enigmatic "Last Year in Marienbad," and the elliptical "Hiroshime Mon Amour," turned increasingly, and in fertile ways, to the topic of romantic love, always from a detached though never dispassionate perspective. Of the four pictures collected here, "Melo" and "Love Unto Death" represent some of the profoundest humanist meditations on love and the creative instinct offered up in cinema. The treatment of jealousy, the loss of illusion, and the power of sacrifice are explored adroitly, passionately, and yet with an essaying character which reminds one of Diderot. The performances are crystalline, and in "Melo" the despair of Azcema's adulterer is all too palpable. This film contains a beautiful continuous take in the early midnight supper scene, where all that will follow is strangely foretold. "Love Unto Death" presents two couples, each of whom deal with schisms in their outlooks on life and death in an honest and unsentimental manner. Yet the players never allow us to forget that we are dealing with the greatest issue each life faces. It is piece which presents this confrontation with mortality with intelligence and clarity, and delivers an emotional and evocative tribute to the affirmative aspects of actions carried out in the face of death. These films, so rarely discussed, allow us a fuller view of this immense figure in modern cinema, and his heartfelt and direct cinematic testament.