Chris Marker is a true revisionist of the seventh art. In "Sans Soleil" he reimagines the concepts of image, memory, time and Cinema. The film takes the form of a travelogue guiding the viewer trough an alienating and ever expanding modern society with commentaries of the camera person (Marker?) read by someone else. It forms a unique cinematic object that is captivating, deeply touching and haunting. Masterpiece.
Banality is the only word that kept echoing in my mind while watching this film. This is surely one of the ugliest movies in the world. If I want to see the ugliness of humanity, movies will be the last thing on earth I would come to. Chris Marker has the talent to make everything he touches turn into something so disgusting and withering. It's ironic yet ridiculous how the world celebrates something like this.
I came to this film knowing nothing about it and was shocked by its extremely apparent visual lust and fascination with the world, the precision in its observation of people and history but mostly the poetry and intimacy that seems to tie all of humanity together. I am going to remember this film for a long time.
Watching 'Sans Soleil' feels like communing with another mind and, as such, gives me hope for the Omega Point. Marker's work embodies such a sophisticated relationship to time it almost seems facile to call it visionary, though this is precisely what it is in the most pure and ecstatic sense of the term. A film for a better species than humans [cats?] full of grace, wonder, humanity, chaos, patterns and humour.
Carnet de voyage filmé et sensible, jonglant entre différents pays (mais focalisé avt tout sur le Japon), mélange étonnant d'intimisme et de grandes envolées analytiques plus ou moins inspirées. Le style éblouit autant qu'il irrite; pour ma part, le charme s'est usé au bout d'une heure sous les coups d'une voix off plus que monocorde, et les 20 dernières minutes furent laborieuses à suivre.