Chris Marker a construit un objet déconcertant qu'on pourrait qualifier de "docu-fiction poético-informatique", à la lisière de l'installation muséale. A la fois intime et historique, il parle de mémoire et d'oubli, de réel et de virtuel, de dicible et d'indicible. Il se perd en fragmentations et images de synthèse, se recentre en monologues adressés à la caméra... Une expérience étrange, exigeante et passionnante.
Could Chris Marker secretly be one of the greatest video game theorists of all time? Its views on the new digital art are both breathtakingly visionary and hopelessly antiquated, with little progress compared to Sans Soleil. Yet its reflexion on the mangling of history through abstract interactivity (or the illusion of) is more important than ever. No game can transpose Okinawa, but then again, no art form can.
Very original approach and narrative. A gem from the 90's, an experimental effort from the beginning (and we're still at the beginning) comprehension on how historical images and events sticks and breathes into the A.I. The killing (like war) of human feelings?
Kind of hard to love a film about death, memory and lies when its central suicidal character is treated like a real person in spite of her being fictional. It's even more ironic considering how she herself comments on art's inability to capture death.
From the post-historical point of view of our cyber-age, Marker dives into the fragments of the past, exploring once again memory traces. Here, the Okinawan 'sarcifice' is dissected by a sober Oshima and an array of weird, yey real images: the booeing of J.Wayne, the immolated Borneo man, the mutual demonization of US and Japan, the search for forgiveness and redemption. Except an overused Laura, the rest is great!
Marker creates the cinema of the future, composed of living images dancing around dead ones (and it looks somehow like Godard´s "Histoire(s) du cinéma" released one year later). The film essay about Okinawa is one of Marker´s finest work but the fictional counterpoint, with Laura talking to the camera, is for sure the weak side of "Level Five". Why include so much artificiality into this ? Amazing editing as usual.
Another enticing film essay by Marker that of course feels seminal now in the age of personal digital assistants and machine learning hype. The choice to juxtapose this discussion with the history of Okinawa seems wrong at first, but somehow it works, and the resulting depiction of memory and collective guilt is a fitting counterpoint to the discussion of the proto-Internet.
Interesting meditation on the socially-mediated nature of subjectivity and "truth". Beautifully edited, with thoughtful and immersive audio-visual composition. Still, the film felt flat and strangely unengaging. Too literal, perhaps; no work left for intuition. Too cynical; each subject's reliability systematically found lacking... Not my favourite Marker. Do, though, love the description: "Documentary, Romance".