In addition to her novels (most of which were published by Gallimard, with the exception of Moderato Cantabile and Destroy, She Said, which were published by Minuit, the press favored by the New Novelists), Marguerite Duras (dew-RAH) published a collection of short stories, Des journées entières dans les arbres (1954; Days in the Trees, 1967), and two short texts, L’Homme assis dans le couloir (1980; The Man Sitting in the Corridor, 1991) and L’Homme atlantique (1982; The Atlantic Man, 1993). Duras was also known as a prolific playwright, and her plays were regularly performed on the French stage. In 1969, Duras turned to filmmaking as her principal activity, perhaps encouraged by the success of her scenario for director Alain Resnais’s Hiroshima mon amour (1959; Hiroshima mon amour: Text by Marguerite Duras for the Film by Alain Resnais, 1961). In 1961, she collaborated with Gérard Jarlot on the script for Une Aussi Longue Absence (English translation, 1966), directed by Henri Colpi, and in 1969, she wrote and directed her first film, Détruire, dit-elle, avowedly inspired by the May, 1968, leftist revolution. Her other films include Nathalie Granger (1972), La Femme du Gange (1973), Baxter, Véra Baxter (1976), Son nom de Venise dans Calcutta désert (1976), Des journées entières dans les arbres (1976), Le Camion (1977), Aurélia Steiner (1979), Agatha: Ou, Les Lectures illisibles (1982), and L’Homme atlantique (1982). Duras evolved a new “hybrid” genre with works such as India Song, subtitled Texte-théâtre-film, and Le Navire “Night” (1979). India Song, the 1973 film, was awarded a special prize at the Cannes Film Festival in 1975.