Despite several adjustment problems faced by the viewers watching Alain Resnais’ new film, the veteran Director clearly seems to have fun with cinematic language.

Admired French Director Alain Resnais, now nearing 90, shows that he still has spring in his step with the illogically challenging romantic comedy Wild Grass, in which a married man and a lonesome dentist get engaged in an odd, fanatical affair that, well, only people in a French New Wave movie would.

The film, which won Resnais a unique jury prize at Cannes last year, is certainly going to disorient some viewers. But with its comic-book shades, crime-caper score, excessively serious narrator, inner monologues and weird touches, Wild Grass proves Resnais is still enjoying with cinematic language.

Very similar to Resnais’s first two dramatic features Hiroshima Mon Amour and Last Year at Marienbad, Wild Grass portrays a wobbly affair and is a poignant, rather than structural, description.

Marguerite loses her purse, when it is snatched in a shopping mall. Her wallet is found that evening in a parking lot by Georges, a man in his late 60s, externally graceful, but experiencing untimely signs of memory loss. He too possesses dark, suspicious thoughts about murder.

Based on identification cards, Georges forms a vision about the wallet’s owner. Anyone not aware of Resnais’s films, Wild Grass has the ability to make anyone’s head spin, but its humorous spirit is sure to keep the viewers eyes and thoughts meticulously engaged.