— The picture of Sandor Krasna, traveller/cameramen, as I figured from the visual and aural fest of letters and images, interspersed by the reader’s reactions and dense motifs for each concept, is someone who is in complete awe and wonderment. He is speculating, contemplating – the people, places, culture, myths, facts, life, death, happenstances, his memories of random incidents and accidents, his perception of those memories, the present which would turn to history in a moment and the history that was present a moment ago.
— It is a profound, up close examination not of the technicalities of memory but the banalities that they are made of. The film weighs in extremes as everything lies in the perception. The perception of the viewer, his attention and concentration on the subject are defacto requirements to sit through so called “not an easy” film. It is a kaleidoscope of thoughts sometimes feels like a train loaded with jumbled digressions heading to wasteville or at other times feels like a perfectly constructed puzzle with pieces that quicken the heart, a puzzle luring us into solving it.
— Each scene is carefully constructed, masterfully captured and related. References to Tarkovsky’s Zone, Hitchcock’s Vertigo and even Brando’s Horror from Apocalypse Now are absolute eye-openers. In fact only later, when I rewatched Vertigo, could not help myself declare it a favorite.
— Sans Soleil to me is film making at its intellectually stimulating heights, an inspiration, a far cry asking me to shoot anything, create something. It shows the unfathomable depth and diversity of content this world has on offer.The genius of Chris Marker offers an experience of a lifetime, as cherishable a mind fuck can ever get.