《去年在马里昂巴德》是法国“新小说运动”的旗帜阿兰·罗伯—格里耶编剧,阿伦·雷奈导演的作品。作为世界电影史上的经典,它被众多的理论审视着,又与众多的理论不谋而合,总有剪不断理还乱的联系。笔者试从女性主义的角度欣赏解析这部影片。运用女性主义微观理论中的符号互动理论,结合影片的叙事和细节两个方面来说明影片中体现的女性主义思想,即“女人不是生来为女人,而是变成女人的”。 “Last year in Marion-Bard” is the work of Alain Reyne, the screenwriter of Alain Robb-Grilles, the banner of French “New Fiction Movement”. As a classic in the history of world cinema, it is examined by numerous theories, and coincides with numerous theories. There is always a link between unreasonableness and disorder. I try to appreciate the analysis of this film from the perspective of feminism. Using the theory of symbolic interaction in the micro-theory of feminism and combining the narrative and the details of the film to illustrate the feminist ideas embodied in the film, “a woman is not born as a woman but a woman.”