August, 1957. A French actress who is in Hiroshima for the shooting of an international film on peace becomes deeply involved with a Japanese architect. The couple shares sweet intimacies in the privacy of her hotel room; however, neither can ignore the memory of the “10,000 Suns” of Hiroshima, an entire city turned to ashes in an instant. But where was the French girl when the bomb exploded that day? She was in Nevers, the very young lover of a German soldier who was killed during the Liberation. When they learned of her affair, her parents shaved her head and locked her up in a cellar. She narrates her recollections to her Japanese lover, who listens to her. There's only time to re-live this one confidence, time to die again in the sorrowful recollection of it, and then oblivion will weave its web. Based on a screenplay by Marguerite Duras, this film revolves around three central thematic-linguistic elements: the atrocity of war, memory and love. The discussion of the atomic disaster that destroyed Hiroshima does not only serve an informative function; rather, it is both an introduction to an analysis of the relationship between the two main characters and the beginning of a deeper psychological understanding that joins together the themes dealt with in the film and begins to explicitly form a statement on memory and oblivion. The mechanisms of the filmmaking process mimics those of mental associations: the explosion of past dramas suddenly extends into the present and the positive, straight-forward behavior of each character is immediately broken down by the other’s. Recollection - which, in the collective memory of the historic events that took place in Hiroshima, had already been manifested as a re-evocation of violence and cruelty - becomes the subjective memory of death and suffering.