Sans Soleil. Chris. Marker Frankreich Bild zu Sans Soleil. "Er sagte, im Jahrhundert habe die Menschheit ihre Rechnung mit dem Raum beglichen. Suchergebnis auf polskierosliny.eu für: Sans Soleil - Unsichtbare Sonne. Die raffinierte Annäherung an den Prozess des Verstehens und des Erinnerns als kinematographischer Essay - Chris Markers "Sans Soleil" gilt.

Sans Soleil Inhaltsverzeichnis

Sans Soleil – Unsichtbare Sonne ist ein französischer Essayfilm aus dem Jahr von Chris Marker. Der Titel bezieht sich auf den gleichnamigen Liederzyklus von Modest Mussorgski. Sans Soleil – Unsichtbare Sonne (französisch sans soleil ‚ohne Sonne') ist ein französischer Essayfilm aus dem Jahr von Chris Marker. Der Titel bezieht. Sans soleil ist ein Wendepunkt im modernen Kino. Man kann nicht mehr Filme machen, wie man es bislang tat, und man kann nicht mehr auf die Filme schauen​. Materialien. Sans soleil flyer. In seinen filmischen Essays hat der Franzose Chris. Marker aufgezeigt, welches Potential an Fiktion in jedem Dokument steckt. FilmeSans soleil. schliessen. Freitag 4 Februar 20h Wo?: Auditorium Wendel. Sans Soleil. Chris. Marker Frankreich Bild zu Sans Soleil. "Er sagte, im Jahrhundert habe die Menschheit ihre Rechnung mit dem Raum beglichen. Sans Soleil. Unsichtbare Sonne. Vollständiger Text zum gleichnamigen Film-​Essay von Chris Marker in der deutschen Übertragung von Elmar Tophoven.

Sans Soleil. Unsichtbare Sonne. Vollständiger Text zum gleichnamigen Film-​Essay von Chris Marker in der deutschen Übertragung von Elmar Tophoven. Sans soleil ist ein Wendepunkt im modernen Kino. Man kann nicht mehr Filme machen, wie man es bislang tat, und man kann nicht mehr auf die Filme schauen​. Die raffinierte Annäherung an den Prozess des Verstehens und des Erinnerns als kinematographischer Essay - Chris Markers "Sans Soleil" gilt. Dreamlike, floating, and poetic, it's a must-see for the intelligent and adventurous viewer. Few other filmmakers but Marker would travel Kino Quakenbrück the outskirts of Guinea-Bissau, take pictures of working-class people, then juxtapose the footage with a rolling commentary about the country's revolution that toppled Portuguese rule. Japan is like a ship that has lost its anchor, where all time is the Two And Half Man Staffel 1, and therefore irrelevant, just as Scottie Ferguson wanders around dazed, in a loop of fantasy and distorted memory. Fall TV I'll be honest. As Sans Soleil scenes shift, locations range from Japan to Iceland to Africa, creating a truly international work. I'd like to write more about it, but I cannot recall anything to say.

But instead we hear through Marker that they are noble savages, free in their own way despite being so primitive, practicing mystical rituals the narrator doesn't actually comprehend, etc.

Even Japanese TV somehow serves to illuminate Japanese culture for Marker, despite the fact that he admits he doesn't speak Japanese and can't understand a word of what's going on!

He travels abroad, reports back to us with a romanticized description of other cultures which the cultures themselves do not contribute to directly , we accept it, and the discourse ends.

We never learn anything tangible, besides the fact that Marker found this experience to be personally significant in some vague way. I haven't seen that one yet and had a feeling Marker wouldn't include any spoiler warnings.

Robert 15 December With "Sans Soleil," Chris Marker skillfully blends image, sound, and voice in a powerful way that I've never experienced before or since.

No mere description can begin to convey this film's stunning effect on my intellect and my senses. Not quite a documentary, not quite fiction, Marker's film emerges as a mesmerizing meditation on the meaning of time, space, and memory.

I had to struggle over whether or not I could do this movie justice by writing a review of it after only seeing it once; it's definitely one of those films that, though you can understand it as it goes along, and it is not in any way what one would call difficult, is one that has so many different details and points that it seems relatively rude to try to shorten it down to a synopsis.

Then again, as it's work in memory, impression, and time precludes, who's to say that the instant of reviewing it does it injustice merely by struggling with it's impression of it?

Well okay, now I'm just being pretentious. It lacks the visceral and unsettling effects of his short "La Jetee", but it isn't like it's meant to be He said For some reason, it may be impossible to describe just how such a film can be considered so striking and yet still sound so simple read any review that likes it, they will be awed but there'll be doubt in the minds of any that have seen it that it couldn't possibly be all that.

What's interesting about it is that it is, in fact, a very simple work, especially structurally. It is even in a way dated since it uses computer effects of the time that, though they still are used experimentally today, still feel older in a this-was-new-back-then-but-we're-past-it-now way.

But still It is, indeed, like it's own memory of itself. Marker's "Sans Soleil". Bizarre in its extreme unconventionality, "Sans Soleil" remains the second best known film in Chris Marker's prolific and legendary filmography.

During his lifetime one not at all wasted due to his massive and consistently brilliant production of art in almost all of its forms, most famously the cinematic form , Marker remained a mysterious figure, and his films only add to the mystery.

Dealing with everything from the primary theme of memory and the existential nightmare of time's passage or, as the narration at one point puts in more poetically : "the moss of time" to oddly humorous yet still often thought provoking encounters with phallic statues and an animatronic designed to bear the appearance of former U.

Kennedy, "Sans Soleil" reaches a point of pure unpredictability. While mildly slow in bits, the overall product is uniquely entertaining in its ability to portray and provoke a wide and diverse palate of human emotion.

With its grainy yet pleasantly colorful cinematography and semi surrealist atmosphere, "Sans Soleil" successfully entertains the eyes and the mind of any viewer that can appreciates its wildly experimentalist and almost structureless style.

Nice images, but pretentious claptrap eyeseehot 15 April Some interesting shots strung together with a pretentious, artsy narration that mimics profundity in a familiar jejeune style.

Assumptions include that the east is superior to the west, television is bad, capitalism evil, etc. Sample insight: "Pac-man puts into true perspective the balance of power between the individual and the environment.

One key to its superficiality: the people are only seen, never heard. The narrator's voice covers all, like ketchup. Marker has a good eye, a good feel for faces and gestures, but a mushy brain.

If you're a young aspiring artist in an MFA program who's attracted to "theory" the humorless self-importance of this film may appeal to you.

At the core of "Sans Soleil," it seems, is the way society chooses to remember things -- and what happens when assumptions are replaced by new facts and a new reality.

If this sounds to use a s expression "far out," that's because "Sans Soleil" does what few other nonfiction films have done before or since: Link disparate cultures in this case, Japan, Iceland, Guinea- Bissau and the United States through street scenes that range from the mundane "banality," in Marker's on screen words to the extraordinary.

One example: Marker shows sleeping Japanese passengers on a ferry, then a subway framed by Tokyo's skyline, then a bird walking serenely on water, then an African woman smiling, then a cat temple in Japan where families pray for felines.

In truth, Krasna is actually Marker, who invented the person of Krasna to Here's one guess: Marker, who's never seen in "Sans Soleil," doesn't want to take full credit for a film that draws from so many displays of public rituals.

Like Edward Steichen's "The Family of Man" photography project, "Sans Soleil" captured lives and moments that were ordinarily overlooked -- though instead of a team of photojournalists, it was just Marker who roamed various continents for the material in this unforgettable movie.

Few other filmmakers but Marker would travel to the outskirts of Guinea-Bissau, take pictures of working-class people, then juxtapose the footage with a rolling commentary about the country's revolution that toppled Portuguese rule.

That revolution inspired revolutionaries in Europe, but as Marker dryly notes, "Who remembers all that?

History throws its empty bottles out the window. Marker's footage of San Francisco was inspired by Hitchcock's "Vertigo. Better than Postcards Preston 7 October This is one of these self-indulgent movies where the main objective is for the artist to draw the audience into his world under the assumption that there's a mutual agreement that what we observe may appear too distant and unreachable to us.

It's kind of like if your mother-in-law came back from visiting Europe and she starts showing you all of her pictures for 2 hours.

Chris Marker isn't so crude, however, I always felt that when one is experiencing the culture of a distant land the medium of film was never the choice way to experience it.

Rather, the exploration of different cultures when traveling must be experienced within the moment, rather than taking the moment with a camera and experiencing it at home.

This is where Sans Soleil becomes a success or a failure in the eyes of the audience: do we live in the moment close to the same way the filmmaker does?

This is something only you can answer when watching it. Personally, It was all over the map for me no pun intended , I think the traveler has the gift of reading people and of showing how their culture has become a mirror for their lives.

Sans Soleil is a nonlinear essay film by French documentary filmmaker Chris Marker La Jetee named after a song cycle by Mussorgsky.

Throughout the film, an unseen woman's voice Alexandra Stewart narrates letters written by a possibly fictional traveler in poetic verse accompanied by sections of electronic music.

Each segment begins with the phrase "He wrote me" and explores matters such as consciousness, Japanese television, modern culture, technology and even the act of filming.

Images in the film include children in Iceland, a carnival in Guinea-Bissau, a ferry in Hokkido, girls in Cape Verde, and a shrine to cats in Tokyo.

Sans Soleil has been hailed in some quarters as a masterpiece, however a more accurate description is "a horrendous waste of space which gives avant garde film-making a bad name.

The narration is an affront to the English language, the images flat and tedious and the less said about the sound the better.

Lines such as "How can one remember thirst? MartinHafer 25 February If you look through the reviews here on IMDb for this film, you'll find quite a few that praise it and you'll find a bunch that thoroughly hated it.

You can place me in the latter group. This same thing could be said about the director's short film "Le Jetee"- -folks think it's brilliant and artsy or folks think it's crap.

I'll tell you what I saw and you can make your own decision--this way at least you cannot say I didn't warn you. The film plays like a travelogue done by someone with a severe head injury.

You see lots of lengthy and seemingly random footage from around the world with an emphasis on Japan and a narrator drones on and on about nothing in particular.

As for the footage, despite being in color it's rather grainy and generally uninteresting. It's also accompanied by electronic music that generally is annoying and I think it was honestly meant to be annoying.

And, this goes one for over minutes. I'll be honest. I stopped watching this one after a while--and that's saying a lot considering I almost never bail on a film.

Additionally, I've probably reviewed at least a couple thousand films and rarely have I felt like I wasted my time more than with this one. The problem with this movie is that nothing happens.

This is one of those horrible "artistic" films that tries to explore philosophical ideas, but the result is a mind-numbing, long-winded narrative with pretty pictures.

No new ideas or information is explored -- just poetic words which boil down to brilliant observations of the obvious.

This is the sort of movie that pretentious idiots who wish to appear intelligent will claim to love.

I like documentaries -- you learn about interesting new facts and ideas in documentaries -- but this is definitely not a documentary.

It's a bad B movie masquerading as art. The only way this movie could be enjoyable would be with a MST3K soundtrack. This film keeps coming back to me.

It utterly confused me at first but something about it made me go back and watch again. It is a film that can fit into many definitions, none of them however, definitively.

The problem of capturing reality is a problem central to film theory, most do it by creating the 'reality effect' via the familiar codes of continuity editing etc, but it is just that, an illusion.

True experience is the recollection of events, a retracing of the path of memory. Only when experience is assimilated in this way can meaning be derived from it.

Sans Soleil plays with the idea of grand historicising themes, focusing on the narratives left untold in the history books, the story of the defeated, strange cultural idiosyncrasies, the easy, lazy way emotions are manipulated by the camera, so a man's tears of gratitude are revealed by context to be tears of rage.

Marker takes canonical historical signposts and challenges their ability to tell us anything of worth about the world and humanity within it.

He jolts and it is a jolt our attention away from the official processes of historification, that goes on beneath our noses in cinema, towards the banal and the everyday detail that comes the stuff of life itself.

On first viewing, especially if you are unfamiliar with the codes of progressive, experimental or 'counter' cinema, you may well be confused.

But you will also be intrigued and on second viewing its secrets begin to reveal themselves. This is released with Marker's short la Jetee, another treat.

This is a truly remarkable film, the only piece of cinema that has, for me, chimed on a similar level of complexity and profundity with the works of Shakespeare and one that similarly continues to resonate.

One of the most worthless things I've ever seen put on celluloid. I had previously tried to get through it twice and failed - finding it miserably tedious.

The images were barely more than home movie quality, every sentiment was abysmally banal, and there was something me than faintly self-congratulatory about it all.

What on earth can Marker's fans get out of this? He seemed to think he was the first westerner to set foot in Asia - and with a camera too! I knew this was going to be a hard ride, but I tried to shrug off any preconceptions and prejudices to give this another try.

After only three minutes I had to hit the pause button. Later I tried again, a non-believer reading the Bible. Bland images. This kind of thing needs-pictures like Baraka to at least provide some justification.

Five minutes are spent watching a Japanese street carnival. He waxes philosophical about a man frying food on a hotplate, presumably because it's the first time he has seen it happening.

A Japanese cameraman of equal naivety might well point his camera at a little old woman frying chips in a British chippie and call it meaningful.

Thankfully, nobody ever did. His camera craves little oddities, such as the temple of the beckoning cats, but it's no more than touristic innocence.

The observation that people ought to look in the camera is typical of the 'aren't I being meaningful by seeing something that no-one else can? But by doing so they are not revealing themselves with curiosity, only hiding themselves with insecurity.

There are two ways of looking at every human emotion. A blithe side and a cynical side. Marker is full of the tourist's childish fascination in things he little understands, and which he photographs for precisely that reason.

Every image is the gawping of an idiot - at the beginning we stare at people asleep on a ferry as if there is something unique and profound about this particular ferry this particular day.

Drawing filigree connections is his main past-time: Marker thinks it clever to move from formal stylised movements of a Japanese traditional dance to awkwardness.

He sets himself a challenge at the very beginning - how to follow an idyllic image of three Icelandic girls?

Nothing works - certainly not the fighter plane he suggests. He gives us a long black pause instead.

So, there's a game of meaning going on, couched in a game of imagery. Absolutely every piece of film here is the same. The woman's deadpan voice-over constantly riles.

She has the tone of Virginia Woolf reading her suicide note. She is narrating the traveller's letters. It's earnest, adulatory - and you never forget it is Marker talking about himself, massaging his own ego through a fantasy girlfriend because it conveniently avoids the too-blatant first person.

There's something unpleasantly adolescent, almost JD Salingerish, about this trick, and I instinctively resist. I felt like I was supposed to be impressed by the fact that Marker had travelled, had had reflections, that he was alive.

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Metacritic Reviews. Photo Gallery. Trailers and Videos. Crazy Credits. Alternate Versions. Rate This. A woman narrates the contemplative writings of a seasoned world traveler, focusing on contemporary Japan.

Director: Chris Marker as Chris. Writer: Chris Marker as Chris. Watch on Mubi with Prime Video Channels.

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Edit Cast Credited cast: Florence Delay Narrator French version voice Arielle Dombasle Self Riyoko Ikeda Narrator Japanese version voice Charlotte Kerr Narrator German version voice Kim Novak Narrator English version voice James Stewart Edit Storyline "He wrote me Edit Did You Know?

They first found out about being in this film in June Goofs The narration refers to the year and the 40th century.

Suchergebnis auf polskierosliny.eu für: Sans Soleil - Unsichtbare Sonne. SANS SOLEIL. Chris Marker. FRA min. V' Er erzählte mir von Sei-​Shônagon, einer Ehrendame der Prinzessin Sadako Anfang des Die raffinierte Annäherung an den Prozess des Verstehens und des Erinnerns als kinematographischer Essay - Chris Markers "Sans Soleil" gilt. Chris Marker»Sans soleil«. Eine essayistische Reise durch Länder und Kontinente, verbunden mit Reflektionen über das Verhältnis von Bildern und. Verrückt Nach Fixi Stream Artikel Diskussion. Sans Soleil Sie dem Web-Tracking widersprechen können sowie weitere Informationen dazu finden Sie in unserer Datenschutzerklärung. Bitte stellen Sie sicher, dass Sie mit dem Internet verbunden sind und versuchen Sie es erneut. Marker nimmt sich Zeit für die Bilder, begleitet Marvel’S Agent Carter Stream in seinen Filmessays mit Kommentaren, die literarisches Format haben und bindet uns Drachenzähmen Leicht Gemacht 2 Streamcloud in einen Prozess der Wahrnehmung. Bensberger Gespräche Glocal One Piece Bs To Marker alias Michel Krasna Kamera Chris. Kreatives Fieber. Philipp Bühler. Die Frage nach dem Wie und Warum filmischer Darstellungformen ist dabei wesentlich für eine mündige Rezeption und sachkundige Einordnung der dargebotenen fiktionalen wie auch dokumentarischen Stoffe. Von Anfang an war ein Tropfen hörbar, ein Geräusch, das auch später immer wieder aufgenommen wird. Ungeachtet der Bedeutung neuer digitaler Entwicklungen spielt auch der Film als historisch gewachsene und nach wie vor sehr massenwirksame Kunstform eine zentrale Rolle für die Medienbildung. MarkerFrankreich Marker auch unterschreiben. Louise Sorel wird wahrgenommen? Gidonline.Club seinen filmischen Essays hat der Franzose Chris. Die Zeit zu arbeiten, aber auch vor allem, nicht Ein Sommer In Amsterdam arbeiten. Von Anfang an war ein Tropfen hörbar, ein Geräusch, das auch später immer wieder aufgenommen wird. Sans soleil. Jeder Film spiegelt stets seine sozialen und kulturellen Kontexte wider. Chris Marker als Sandor Krasna. MarkerFrankreich Mehr lesen auf kinofenster. Für mich sind sie fast eine Art zu leben. Episodenguide Star Trek Discovery dies nicht weiterhilft unterstützen wir Sie gerne per e-Mail Johnny English 3 Ganzer Film Deutsch info trigon-film. Marker Musik Chris.

Sans Soleil - Öffnungszeiten und Eintritt

Deutscher Titel. Philipp Bühler. Mein Konto Adresse ändern Passwort ändern. Wer sieht was?

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Chris Marker - Sans Soleil (1983) Narrator English version voice James Stewart Get some streaming picks. Sign Dressmaker Film here. Remarkable images include the disturbing slaughter of a giraffe and a Japanese temple devoted to ceramic cats; it seems random, but every shot is accompanied by a keen observation on culture and humanity. Was this review helpful? Then, they should talk about what they just watched. The problem with this movie is that nothing happens. Of course there is no absolute thought in Sans Soleilbecause it is inherently designed to stimulate possibilities rather than finalities, bridging the impermanent and immortal in Bs To Breaking Bad fond remembrance.

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How did you buy your ticket? View All Photos 8. Movie Info. This experimental film by acclaimed French director Chris Marker collects footage recorded in various countries around the world and presents it in collage-like form.

The movie features no synchronized sound, but instead ties the various segments together with music and voice-over narration, which ponders the topics such as memory, technology and society.

As the scenes shift, locations range from Japan to Iceland to Africa, creating a truly international work. Chris Marker.

Feb 7, Argos Films. Chris Marker Director. Sans Soleil challenges viewers to find the courage to openly discuss the film in both internal and external dialogues about what it is to be human.

It is for us to write, to continue his vision as ours. Search this site:. Japan is like a ship that has lost its anchor, where all time is the same, and therefore irrelevant, just as Scottie Ferguson wanders around dazed, in a loop of fantasy and distorted memory.

Without history, memory, a culture ceases to be a culture and lays itself open to all sorts of vulnerability.

But this lack of foundation ironically leads to a greater freedom, particularly of the mind, and the film, as it reaches its conclusion, becomes visionary and hallucinatory.

Krasna compares the overcultured, saturated Japan to the timeless emptiness of Africa, to the spooky otherworldliness of Iceland, as his 'objective' narrative becomes increasingly a personal odyssey that must be teased out from hints and ellipses.

In its focusing on the minutae, the forgotten, the arcane, the ephemeral, the back alleys, the garbage, but suggesting that 'Soleil' is ultimately only one film out of a possible multitude made possible by new technologies, Marker's film is at once profoundly democratic yet exhilaratingly idiosyncratic; an apocalyptic vision teeming with life.

A response to the reviewer who called the film pretentious claptrap: This movie is not for everyone and I can easily understand the sentiments of one who finds it pretentious.

But when one says "Assumptions include that the east is superior to the west, television is bad, capitalism evil,etc.

Perhaps one doesn't hear "Capitalism is good" and understands "capitalism is evil," but that all occurs within the viewer. I for one never saw any of these "assumptions" being made here.

A poetic and rambling essay film, in the form of a letter from a lost and lonely traveller. Chris Marker lets his mind and camera roam through the landscape of early eighties Japan, and his imagination drift across the world.

Memory history and emotion blend into a loving study of human existence. The film's form is loose and sprawling and it it almost impossible to try to follow it in any linear fashion.

Instead it washes across the surface of you conscious mind, occasionally burrowing deep with images you can never forget. It is a completely unique film and is inspiring in its ability to bring the political, the philosophical and the poetic together on screen.

Chris Marker is one of the unsung greats of film history. To call this film a documentary is to cheapen it.

It's life on screen, not a mere document. It's poetry How about your view of how you live and the world around you?

Have you ever seen a film that gave you the questions to ask yourself? This film is startling I can't praise it enough.

My mind was exhausted by considering the layered imagery, both audio and visual, and the contextual shifts between them. How does anyone pick up a camera after seeing this?

You might as well toss it in the trash because Marker has made Earth's last film. Fans of this film should also seek out "The Koumiko Mystery", another transcendant film by Chris Marker.

When is a documentary not a documentary? The subject-matter is Japan, post-modernism, the erasion of memory, the flattening-out of history, decentring, surface, pastiche.

It records life-styles, trends, habits, rites, artistic movements with the rigour of an anthropologist. It is a film about travel: throughout the world, throughout time.

It is a Borgesian fantasy, the filmmaker is actually a fictional creation , Sandor Krasna. To call it a documentary, or even a film, would be like calling the Sistine Chapel a ceiling.

Visionary filmmaker Chris Marker creates a portrait of ever encroaching globalization in this minute odyssey between the 'two poles of survival'. Probably one of the greatest 'avant-garde' films of all time, don't let its classification dissuade you.

This is a very simple film with a very simple message: though time changes, what nourishes humanity remains constant, namely love, memory, hope, understanding, recognition and belonging.

The only frustrating thing about this film is that one viewing is not enough. This is a work you will cherish re-watching for years to come.

Direct cinema science-fiction set on Planet Earth. I must be brief. This documentary, which splices in cuts from Vertigo and from some guerrilla films, is definitely worth seeing.

Though a student of French literature, and therefore habitually and terminally bored by pretentious studies of memory, this movie is remarkable in the way it makes connections across continents through the filmmaker's memory, extended as it is by the visual images he has stored on film.

To put it disrespectfully, there is a lot of eye candy in this film, some of which is extremely beautiful So far I have only seen this film once, and so many of the memories that it prodded just three weeks ago have faded, like for example the name of the composer whose Bez Solntse inspired the title, and the documentary on volcanic activity I saw somewhere sometime which was echoed in the section filmed in Finland.

In any case, this film will give you insight into the fascinating co-existence of traditional and modern culture in Japan.

Bref, a fabulous film. As others have suggested, be prepared to suspend the Hollywood mindset for this treat.

The footage itself is pretty interesting: we see Japanese people performing ancient purification rites, some nice shots of Iceland's lunar landscape, and other scenes from societies around the world, but the voice-over pretty much ruins it.

Honestly, you could probably find more meaningful prose in a teenage goth's LiveJournal. I had a few ideological problems with the movie as well.

Chris Marker a Frenchman, I assume? He then mashed all the footage together, drawing inferences from the images which he then communicated to us, the primarily Western viewers through a voice-over.

He never interviews anyone he films. His voice is the only one we hear, he is the sole authority who controls the information we receive, and as a result he can construct other cultures to fit a message of his choosing.

What to the people living in the jungle have to say about life? That's what I'd like to know. But instead we hear through Marker that they are noble savages, free in their own way despite being so primitive, practicing mystical rituals the narrator doesn't actually comprehend, etc.

Even Japanese TV somehow serves to illuminate Japanese culture for Marker, despite the fact that he admits he doesn't speak Japanese and can't understand a word of what's going on!

He travels abroad, reports back to us with a romanticized description of other cultures which the cultures themselves do not contribute to directly , we accept it, and the discourse ends.

We never learn anything tangible, besides the fact that Marker found this experience to be personally significant in some vague way.

I haven't seen that one yet and had a feeling Marker wouldn't include any spoiler warnings. Robert 15 December With "Sans Soleil," Chris Marker skillfully blends image, sound, and voice in a powerful way that I've never experienced before or since.

No mere description can begin to convey this film's stunning effect on my intellect and my senses. Not quite a documentary, not quite fiction, Marker's film emerges as a mesmerizing meditation on the meaning of time, space, and memory.

I had to struggle over whether or not I could do this movie justice by writing a review of it after only seeing it once; it's definitely one of those films that, though you can understand it as it goes along, and it is not in any way what one would call difficult, is one that has so many different details and points that it seems relatively rude to try to shorten it down to a synopsis.

Then again, as it's work in memory, impression, and time precludes, who's to say that the instant of reviewing it does it injustice merely by struggling with it's impression of it?

Well okay, now I'm just being pretentious. It lacks the visceral and unsettling effects of his short "La Jetee", but it isn't like it's meant to be He said For some reason, it may be impossible to describe just how such a film can be considered so striking and yet still sound so simple read any review that likes it, they will be awed but there'll be doubt in the minds of any that have seen it that it couldn't possibly be all that.

What's interesting about it is that it is, in fact, a very simple work, especially structurally. It is even in a way dated since it uses computer effects of the time that, though they still are used experimentally today, still feel older in a this-was-new-back-then-but-we're-past-it-now way.

But still It is, indeed, like it's own memory of itself. Marker's "Sans Soleil". Bizarre in its extreme unconventionality, "Sans Soleil" remains the second best known film in Chris Marker's prolific and legendary filmography.

During his lifetime one not at all wasted due to his massive and consistently brilliant production of art in almost all of its forms, most famously the cinematic form , Marker remained a mysterious figure, and his films only add to the mystery.

Dealing with everything from the primary theme of memory and the existential nightmare of time's passage or, as the narration at one point puts in more poetically : "the moss of time" to oddly humorous yet still often thought provoking encounters with phallic statues and an animatronic designed to bear the appearance of former U.

Kennedy, "Sans Soleil" reaches a point of pure unpredictability. While mildly slow in bits, the overall product is uniquely entertaining in its ability to portray and provoke a wide and diverse palate of human emotion.

With its grainy yet pleasantly colorful cinematography and semi surrealist atmosphere, "Sans Soleil" successfully entertains the eyes and the mind of any viewer that can appreciates its wildly experimentalist and almost structureless style.

Nice images, but pretentious claptrap eyeseehot 15 April