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Sans soleil
Synopsis
An experimental travelogue, Sans soleil weaves together footage from all over the world to take the viewer on a philosophical journey into the nature of time and memory.
Our take
How to describe such an indescribable film? Chris Marker’s Sans Soleil is cinema as a stream-of-consciousness, the journey of an unseen hero around the globe and through the mind. Today, it is considered a pantheon masterpiece, a film that breaks free of documentary form into a world of its own.
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Awards & Festivals
Berlin International Film Festival
1983 | Honorable Mention: OCIC Award (Forum of New Cinema)
A further advantage gained from this mediation is Marker’s chameleon-like capacity to shift certain national characteristics as he moves from one culture to another. All proportions guarded, one might suggest that he typically comes across as a European Marxist in Africa, as an American obsessed with technology and technical innovation in Japan, and as a French surrealist in the U.S.—always a naturalized tourist of some sort rather than either a citizen or a greenhorn.
Catherine Lupton
February 07, 2012
In these three arbitrary locations, we are presented with a past and future humanity trapped in a global simultaneity: one of ceremony, technology, melancholy, and revolution… Released in 1983 but “dated” only by the spectacular, well-documented use of an analog video synthesizer presumably “lost” to a history whose existence we can no longer accept, SANS SOLEIL will always be the film of the future.
Michael Castelle
March 14, 2008
It stands as a model of the essay film… A female narrator reads from letters written by a world traveler, whose free-associative comments can leap from a minor cultural observation (like mating habits on the Bijagós Islands) to video games to the Khmer Rouge. It’s an arch, difficult film, as fuzzily intellectual as “La Jetée” is precise, but worth getting lost in all the same.
Scott Tobias
July 18, 2007
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