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La Jetee
La Jetee depicts the story of a slave sent back and forth through time to try and find a solution to the issues inflicting the population of post-World War III Paris. Chris Marker brings his visionary touch, combining still images, graphic sequences and live action to portray a beautiful yet tragic story.
Sans Soleil
A narrated journey through the thoughts, pictures and memories of a young female woman’s travels taking in Japan, Iceland and San Francisco. Visionary director Chris Marker bring this story to life with stunning backdrops and beautiful landscapes.
La Jetee depicts the story of a slave sent back and forth through time to try and find a solution to the issues inflicting the population of post-World War III Paris. Chris Marker brings his visionary touch, combining still images, graphic sequences and live action to portray a beautiful yet tragic story.
Sans Soleil
A narrated journey through the thoughts, pictures and memories of a young female woman’s travels taking in Japan, Iceland and San Francisco. Visionary director Chris Marker bring this story to life with stunning backdrops and beautiful landscapes.
Product Description
United Kingdom released, PAL/Region 2 DVD: LANGUAGES: English ( Mono ), WIDESCREEN (1.66:1), SPECIAL FEATURES: Black & White, Interactive Menu, Scene Access, SYNOPSIS: La Jetee (1962): La Jetee depicts the story of a slave sent back and forth through time to try and find a solution to the issues inflicting the population of post World War III Paris. Chris Marker brings his visionary touch, combining still images, graphic sequences and live action to portray a beautiful yet tragic story.; ; Sans Soleil (1983): A narrated journey through the thoughts, pictures and memories of a young female woman's travels taking in Japan, Iceland and San Francisco. Visionary director Chris Marker bring this story to life with stunning backdrops and beautiful landscapes. SCREENED/AWARDED AT: Berlin International Film Festival, ...La Jetee / Sans Soleil ( The Pier / Sunless (Sun less) ) ( Bez solntsa Sunless Sans soleil )
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Customer Reviews
Most Helpful Customer Reviews
1 of 1 people found the following review helpful
Format:DVD
Chris Marker and short films (Varda, Resnais) by the Rive Gauche
Chris Marker (born 29 July 1921) is often associated with the Left Bank Cinema movement that occurred in the late 1950s and included such other filmmakers as Alain Resnais, Agnès Varda, Henri Colpi and Armand Gatti. Film theorist Roy Armes has said of him: <Marker is unclassifiable because he is unique...The French Cinema has its dramatists and its poets, its technicians, and its autobio-graphers, but only has one true essayist: Chris Marker>. His best known films are Lettre de Sibérie (1957), La jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985), an essay film on the Japanese filmmaker Akira Kurosawa.
Availability of Marker's films, at least for the time being - except La jetée and Sans soleil, which, if seen singly, are not necessarily his best - is close to nil. So unless you are near the cinématèque of a world cultural city, or a film-teaching university, you may never get to see them. This is a typical problem of the short film, where anything not fitting the two hour interval (including a ten minute break to sell ice cream, a solid income component of movie house operators) is doomed. Traditionally shown and appreciated as firsts in less ice cream based economies like film clubs, they seem to have not much of an afterlife. Dutchman Joris Ivens (1898-1989), however, next to Marker the really (yes, let's say it:) ONLY OTHER GREAT film essayist, for the occasion of one of his anniversaries, has been honoured with a five box complete dvd collection. So it can be done.
The shorts situation of Agnès Varda is best - in her collected works on dvd, literally all is assembled, including such treasures as Du côté de la côte (1958). A bit more difficult are the shorts of Alain Resnais, which exist dispersed in many forms, formats and languages, but his Toute la mémoire du monde (1956, on the (old) French National Library) and others can be found relatively easily. The regret with Marker is, to reiterate our point, that his production, which by its uniqueness and in its entirety, has influenced the Rive gauche and much other new and short film making, should only be available in such random and rudimentary fashion. Can anybody help?
55 - 3 February 2012
Chris Marker (born 29 July 1921) is often associated with the Left Bank Cinema movement that occurred in the late 1950s and included such other filmmakers as Alain Resnais, Agnès Varda, Henri Colpi and Armand Gatti. Film theorist Roy Armes has said of him: <Marker is unclassifiable because he is unique...The French Cinema has its dramatists and its poets, its technicians, and its autobio-graphers, but only has one true essayist: Chris Marker>. His best known films are Lettre de Sibérie (1957), La jetée (1962), A Grin Without a Cat (1977), Sans Soleil (1983) and AK (1985), an essay film on the Japanese filmmaker Akira Kurosawa.
Availability of Marker's films, at least for the time being - except La jetée and Sans soleil, which, if seen singly, are not necessarily his best - is close to nil. So unless you are near the cinématèque of a world cultural city, or a film-teaching university, you may never get to see them. This is a typical problem of the short film, where anything not fitting the two hour interval (including a ten minute break to sell ice cream, a solid income component of movie house operators) is doomed. Traditionally shown and appreciated as firsts in less ice cream based economies like film clubs, they seem to have not much of an afterlife. Dutchman Joris Ivens (1898-1989), however, next to Marker the really (yes, let's say it:) ONLY OTHER GREAT film essayist, for the occasion of one of his anniversaries, has been honoured with a five box complete dvd collection. So it can be done.
The shorts situation of Agnès Varda is best - in her collected works on dvd, literally all is assembled, including such treasures as Du côté de la côte (1958). A bit more difficult are the shorts of Alain Resnais, which exist dispersed in many forms, formats and languages, but his Toute la mémoire du monde (1956, on the (old) French National Library) and others can be found relatively easily. The regret with Marker is, to reiterate our point, that his production, which by its uniqueness and in its entirety, has influenced the Rive gauche and much other new and short film making, should only be available in such random and rudimentary fashion. Can anybody help?
55 - 3 February 2012
1 of 3 people found the following review helpful
Format:DVD
Chris Marker (french born 1921) is a legendary film-maker in avant garde circles. La Jetee is credited as an inspiration to the Gilliam film 12 Monkeys.
LA JETEE - most people are probably familiar with the vague outline of this film. It is less than half an hour long and consists mainly of black and white still images, and is about time travel. Marker turns what might be limitations into real strengths. Although it consists of still images, they are striking and convey a strong evocative story. The film is not hurried, but manages to say a great deal in its short running time. The real strength though is the script, slightly askew, the deadpan tone ensures that it never becomes contrived or mawkish. This is one of those films that scares you because you worry that it is somehow going to go wrong, and somehow stop being as good as it is, but the ending is perfectly judged and even manages to better what went before.
SANS SOLEIL - is an odd film, it consists of narrated excerpts from fictional letters, and clips of film. Mostly these are handheld, and are rather artless footage, mainly from Japan, but also from Africa and Iceland. There are some concrete themes, and some recurring philosophical themes, memory and time. While visually the film is quite artless, the narrative is quite philosophical, in a rather french post-modern way. I've just seen it once, and although it was never dull, I was not entirely caught up by it. Some people do however rate it amongst the greatest films ever made. I would caution that it is not suitable for everyone, there is a surprising amount of non-titilating nudity, and non-dramatic violence, for example the graphic shooting of a giraffe. The 15 certificate is somewhat questionable.
Of the two, I think that La Jetee comfortably justifies the purchase, and Sans Soleil is worth watching, though unlikely to be to everyone's taste.
No extras to speak of, but there is a choice of language for the narrations.
LA JETEE - most people are probably familiar with the vague outline of this film. It is less than half an hour long and consists mainly of black and white still images, and is about time travel. Marker turns what might be limitations into real strengths. Although it consists of still images, they are striking and convey a strong evocative story. The film is not hurried, but manages to say a great deal in its short running time. The real strength though is the script, slightly askew, the deadpan tone ensures that it never becomes contrived or mawkish. This is one of those films that scares you because you worry that it is somehow going to go wrong, and somehow stop being as good as it is, but the ending is perfectly judged and even manages to better what went before.
SANS SOLEIL - is an odd film, it consists of narrated excerpts from fictional letters, and clips of film. Mostly these are handheld, and are rather artless footage, mainly from Japan, but also from Africa and Iceland. There are some concrete themes, and some recurring philosophical themes, memory and time. While visually the film is quite artless, the narrative is quite philosophical, in a rather french post-modern way. I've just seen it once, and although it was never dull, I was not entirely caught up by it. Some people do however rate it amongst the greatest films ever made. I would caution that it is not suitable for everyone, there is a surprising amount of non-titilating nudity, and non-dramatic violence, for example the graphic shooting of a giraffe. The 15 certificate is somewhat questionable.
Of the two, I think that La Jetee comfortably justifies the purchase, and Sans Soleil is worth watching, though unlikely to be to everyone's taste.
No extras to speak of, but there is a choice of language for the narrations.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
1 of 1 people found the following review helpful
Landmark film
17 Jan 2007
Among the most original and memorable films ever made, this movie deserves special attention. The story concerns about an astronaut who travels back through time to realize an affair - very brief, indeed - with a woman he once glimpsed But the entire film except a brief shot, is narrated with the support of photographs and isolated shots. As a matter of fact it became a substantial reference to Terry Gilliam in his memorable "Twelve monkeys"
Because the photograph does not create - like the art - the eternity, but embalms the time; limiting itself to subtract it to its own corruption.
Because the photograph does not create - like the art - the eternity, but embalms the time; limiting itself to subtract it to its own corruption.
The death instinct of a child locked up in the Cold War
26 Jan 2007
I only want to cover « La Jetée » here which sounds like being more of
a fictional work than the « Sans Soleil ». It is of course dated by the
missile crisis in Cuba and the assassination of John Fitzgerald
Kennedy, pending at the time of the film but widely in the air of this
phase of the Cold War when some powerful military personnel were
forgetting they were the personnel of the people and only thought they
were the personnel of their own adventures. Here we are in the
aftermath of the third world war, nuclear by definition. Paris is
bombed down into a pile of radioactive rubbles. Among the survivors two
clans : the victors, which is natural since they seize all power over
the others, and the prisoners who are the other ones who do not want to
fight for a piece of the power cake.Then Chris Marker crisscrosses many
borrowed elements. One from the concentration camps implies the
prisoners can be freely used as guinea pigs for experiments. This is
bleak and gross but absolutely realistic : anyone in these conditions
who would be told he can help the survivors to survive would do it.
Then the Time Traveler is introduced in the picture, not with a machine
but with an IV-injection. Just like Wells does, they try to go to the
past and then to the future. This rewriting is interesting because in
the past the time traveler discovers what it used to be, but is no
longer. This trip is thus completely fake since what he calls real cats
and real birds are nothing but mental images of vanished beings. His
love affair for a woman there is even worse since he can only love
someone who is dead and for whom he is nothing but a ghost. Then the
shorter section of time traveling to the future is completely opposed
to what H.G. Wells imagined : he meets with a more advanced society
that can travel in time too and these can even grant him his last
desire before he is put to death by his detainers in this
post-apocalyptic present. So he ends in the past, in Orly, on the day
when he saw a man dying as we have seen in the opening sequence,
running towards the woman he has learned to love, and dying just before
he can reach her, unplugged by the victors in his post-apocalyptic
present. But this last scene is the first scene of the film, the
recollection of the character witnessing the death of an unknown man in
exactly the same place and same circumstances. Was he predestined to
see his own death when a child and then live this death later on,
apparently on his own will, though not knowing he was enacting a
recollection ? There is a further possible discourse about this short
film. The form of the film itself leads to it. It is a comic strip
built with a succession of commented stills. It is the belief that man
has extra-sensorial capabilities that he does not exploit. A man dreams
of the past and of the future but neglects these dreams, even if they
are nightmares. He is haunted at times with some dreams, structures,
situations, etc. And yet this man will neglect them and will not be
able to decipher the message they may contain. Here Chris Marker
deciphers the message of a child's fugacious vision seeing a man dying
on a pier in Orly Airport. If the end is true, if it was his own death,
then the whole film is true, which we will doubt very much. Or the
whole film is nothing but the mental construction of the child's mind
that identifies with the dying man there in front of him, revealing his
morbid neurosis. And then the destruction of the world, the time
traveling episodes and his final death which means his refusal to be
saved in the future world, to get an outlet in some distant future time
reveals the morbid and death-inflicting neurosis that verges onto some
kind of killing psychosis. That's a hard way to commit the total crime
of destroying the whole world and then to commit one's own suicide,
just to clean up one's mind of these thanatic desires and suicidal
projects. This film was produced by a normal mind distracted from
reality and deranged by the reality of the Cold Watr in 1962-63 to the
point of destroying the world, killing himself fictionally and even
sending himself into a childish present that has already seen his own
death, hence in which he is nothing but a living dead. It is this
gordian knot that makes the film a masterpiece. The Cold War made us
all living dead people and we did live like that, always afraid of the
red button.
Dr Jacques COULARDEAU, University of Paris Dauphine & University of
Paris 1 Pantheon Sorbonne
a fictional work than the « Sans Soleil ». It is of course dated by the
missile crisis in Cuba and the assassination of John Fitzgerald
Kennedy, pending at the time of the film but widely in the air of this
phase of the Cold War when some powerful military personnel were
forgetting they were the personnel of the people and only thought they
were the personnel of their own adventures. Here we are in the
aftermath of the third world war, nuclear by definition. Paris is
bombed down into a pile of radioactive rubbles. Among the survivors two
clans : the victors, which is natural since they seize all power over
the others, and the prisoners who are the other ones who do not want to
fight for a piece of the power cake.Then Chris Marker crisscrosses many
borrowed elements. One from the concentration camps implies the
prisoners can be freely used as guinea pigs for experiments. This is
bleak and gross but absolutely realistic : anyone in these conditions
who would be told he can help the survivors to survive would do it.
Then the Time Traveler is introduced in the picture, not with a machine
but with an IV-injection. Just like Wells does, they try to go to the
past and then to the future. This rewriting is interesting because in
the past the time traveler discovers what it used to be, but is no
longer. This trip is thus completely fake since what he calls real cats
and real birds are nothing but mental images of vanished beings. His
love affair for a woman there is even worse since he can only love
someone who is dead and for whom he is nothing but a ghost. Then the
shorter section of time traveling to the future is completely opposed
to what H.G. Wells imagined : he meets with a more advanced society
that can travel in time too and these can even grant him his last
desire before he is put to death by his detainers in this
post-apocalyptic present. So he ends in the past, in Orly, on the day
when he saw a man dying as we have seen in the opening sequence,
running towards the woman he has learned to love, and dying just before
he can reach her, unplugged by the victors in his post-apocalyptic
present. But this last scene is the first scene of the film, the
recollection of the character witnessing the death of an unknown man in
exactly the same place and same circumstances. Was he predestined to
see his own death when a child and then live this death later on,
apparently on his own will, though not knowing he was enacting a
recollection ? There is a further possible discourse about this short
film. The form of the film itself leads to it. It is a comic strip
built with a succession of commented stills. It is the belief that man
has extra-sensorial capabilities that he does not exploit. A man dreams
of the past and of the future but neglects these dreams, even if they
are nightmares. He is haunted at times with some dreams, structures,
situations, etc. And yet this man will neglect them and will not be
able to decipher the message they may contain. Here Chris Marker
deciphers the message of a child's fugacious vision seeing a man dying
on a pier in Orly Airport. If the end is true, if it was his own death,
then the whole film is true, which we will doubt very much. Or the
whole film is nothing but the mental construction of the child's mind
that identifies with the dying man there in front of him, revealing his
morbid neurosis. And then the destruction of the world, the time
traveling episodes and his final death which means his refusal to be
saved in the future world, to get an outlet in some distant future time
reveals the morbid and death-inflicting neurosis that verges onto some
kind of killing psychosis. That's a hard way to commit the total crime
of destroying the whole world and then to commit one's own suicide,
just to clean up one's mind of these thanatic desires and suicidal
projects. This film was produced by a normal mind distracted from
reality and deranged by the reality of the Cold Watr in 1962-63 to the
point of destroying the world, killing himself fictionally and even
sending himself into a childish present that has already seen his own
death, hence in which he is nothing but a living dead. It is this
gordian knot that makes the film a masterpiece. The Cold War made us
all living dead people and we did live like that, always afraid of the
red button.
Dr Jacques COULARDEAU, University of Paris Dauphine & University of
Paris 1 Pantheon Sorbonne
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