Resnais's first feature film was "Hiroshima mon amour" (1959). It originated as a commission from the producers of "Nuit et Brouillard" (Anatole Dauman and Argos Films) to make a documentary about the atomic bomb, but Resnais initially declined, thinking that it would be too similar to the earlier film about the concentration camps and that it presented the same problem of how to film incomprehensible suffering. However, in discussion with the novelist Marguerite Duras a fusion of fiction and documentary was developed which acknowledged the impossibility of speaking "about" Hiroshima; one could only speak about the impossibility of speaking about Hiroshima. In the film, the themes of memory and forgetting are explored via new narrative techniques which balance images with narrated text and ignore conventional notions of plot and story development. The film was shown at the 1959 Cannes Film Festival, alongside Truffaut's "Les Quatre Cents Coups" ("The 400 Blows"), and its success became associated with the emerging movement of the French New Wave.