Fifty years is a long time to wait for anything, let alone a prize from a festival located in a country who’s cinema you’ve helped define. But that’s where 90-year-old Alain Resnais finds himself in 2012, at the Cannes Film Festival, 53 years after his debut feature, Hiroshima mon amour, won a special prize at the fest. In a neat connection, Emmanuelle Riva, who I’m guessing takes home the Best Actress prize this year for AMOUR, starred in Resnais’ debut. His 18th (and potentially final) feature, the appropriately titled You Ain’t See Nothin’ Yet, marks his latest attempt at snatching the Palm d’Or, an award he’s arguably had coming to him for the entirety of his career, since his days unintentionally spearheading the nouvelle vague (Hiroshima, one of the movement’s key texts, was notoriously left out of Competition because of it’s subject matter). If he does win, however, it thankfully won’t only be a result of longevity and outcries of being “overdue”. The charming, slyly brave You Ain’t Seen Nothin’ Yet finds Resnais’ aesthetic prowess in fine form, continuing a run of twilight-era films nearly as radical as what he was doing with the form in the 1960s and ‘70s.