Question: Who wrote the screenplay for Alain Resnais' second feature film?
Context: Life of Riley (French: Aimer, boire et chanter ) is a 2014 French comedy-drama film directed by Alain Resnais in his final feature film before his death.  Adapted from the play "Life of Riley" by Alan Ayckbourn, the film had its premiere in the competition section of the 64th Berlin International Film Festival, just three weeks before Resnais died, where it won the Alfred Bauer Prize. L'Année dernière à Marienbad (released in the US as Last Year at Marienbad and in the UK as Last Year in Marienbad) is a 1961 French-Italian film directed by Alain Resnais from a screenplay by Alain Robbe-Grillet. Muriel (French: Muriel ou le Temps d'un retour , literally "Muriel, or the Time of a Return") is a 1963 French film directed by Alain Resnais.  It was Resnais's third feature film, following "Hiroshima mon amour" (1959) and "L'Année dernière à Marienbad" (1961), and in common with those films it explores the challenge of integrating a remembered or imagined past with the life of the present.  It also makes oblique reference to the controversial subject of the Algerian War, which had recently been brought to an end.  "Muriel" was Resnais's second collaboration with Jean Cayrol, who had also written the screenplay of "Nuit et brouillard" ("Night and Fog") (1955). Robert Benayoun (1926 in Kenitra, Morocco – 20 October 1996, Paris) was a French film critic and author, and one-time member of the jury at the Cannes Film Festival of 1980.  He wrote books on Tex Avery, Woody Allen, Buster Keaton, the Marx Brothers, and Alain Resnais. Hiroshima mon amour (] , "Hiroshima My Love"; Japanese: 二十四時間の情事 "Nijūyojikan'nojōji", "Twenty-four-hour affair") is a 1959 drama film directed by French film director Alain Resnais, with a screenplay by Marguerite Duras.  It is the documentation of an intensely personal conversation between a French-Japanese couple about memory and forgetfulness.  It was a major catalyst for the Left Bank Cinema, making highly innovative use of miniature flashbacks to create a uniquely nonlinear storyline. Stavisky... is a 1974 French film drama based on the life of the financier and embezzler Alexandre Stavisky and the circumstances leading to his mysterious death in 1934.  This gave rise to a political scandal known as the Stavisky Affair, which led to fatal riots in Paris, the resignation of two prime ministers and a change of government.  The film was directed by Alain Resnais and featured Jean-Paul Belmondo as Stavisky and Anny Duperey as his wife, Arlette.  Stephen Sondheim wrote the film's musical score. Providence is a 1977 French/Swiss film directed by Alain Resnais from a screenplay by David Mercer.  It explores the processes of creativity through a portrayal of an ageing novelist, played by John Gielgud, who imagines scenes for his latest novel which draw upon his past history and his relationships with members of his family.  The film won the 1978 César Award for Best Film. Life Is a Bed of Roses (French: La vie est un roman) is a 1983 French film directed by Alain Resnais from a screenplay by Jean Gruault.  The English-language distribution title of the film is "Life Is a Bed of Roses", though it has also been known as "Forbek's Castle" and "Life Is a Fairy Tale".  A literal translation of the original title is "Life is a novel ["or" story, romance]"; in the film the French quotation (or misquotation) is attributed to Napoleon. I Want to Go Home is a 1989 French film directed by Alain Resnais, from a screenplay by Jules Feiffer.  It explores the differences between French and American cultural values through a story about a veteran cartoonist who encounters conflicting reactions to his work during a trip abroad. Je t'aime, je t'aime ("I Love You, I Love You") is a 1968 French science fiction film directed by Alain Resnais from a screenplay by Jacques Sternberg.  The plot centres on Claude Ridder (Claude Rich) who is asked to participate in a mysterious experiment in time travel when he leaves the hospital after a failed suicide attempt.  The experiment, intended to return him after one minute of observing the past, instead causes him to experience his past in a disjointed fashion.  His fate is left ambiguous.
Answer: Alain Robbe-Grillet