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 Chris Marker, |
A travel report that isn't. The letters of a fictitious cameraman simultaneously guide the film-maker and the viewer through two extreme poles of contemporary survival : the "science faction" of the rich Japan and the "natural" environment of the more than poor Guinea-Bissau and the Cape Verde Islands. The African fisherfolk look straight into the camera, thereby offending against the first rule of any respectable film training course. Meanwhile, the television dreams of the dozing commuters in the Tokyo underground merge into one single flow of electronic images. "Do we ever know where history is made ?" the film-maker asks himself while running up against the geographic resistance of history. Sans Soleil's heterogeneity of ideas and images attempts to trace the operation of the memory of the late twentieth century. Both in the memory and in the world, different times and different histories exist alongside each other, and Marker's poetical method of depicting those of past, present and future all at the same time is by using the visual essay and lyrical experiment. The chase itself is more important than the spoils. That much is proven in the streets of San Francisco, in his meticulous reconstruction of Hitchcock's Vertigo, that masterly game of illusion in which the hunter and the hunted change places in the cruellest of ways. |
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 Disclamer |
 Emergency Broadcast Network |
 Lucky People Center |
 Home Stories |
 La Société du Spectacle |
 Unsere Afrikareise |
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