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Sans soleil

  • 1983
  • Not Rated
  • 1h 44min
CALIFICACIÓN DE IMDb
7.7/10
13 k
TU CALIFICACIÓN
Sans soleil (1983)
A woman narrates the contemplative writings of a seasoned world traveler, focusing on contemporary Japan.
Reproducir trailer1:46
1 video
46 fotos
DocumentaryDrama

Una mujer narra los escritos contemplativos de un viajero mundial experimentado, centrándose en el Japón contemporáneo.Una mujer narra los escritos contemplativos de un viajero mundial experimentado, centrándose en el Japón contemporáneo.Una mujer narra los escritos contemplativos de un viajero mundial experimentado, centrándose en el Japón contemporáneo.

  • Dirección
    • Chris Marker
  • Guionista
    • Chris Marker
  • Elenco
    • Amilcar Cabral
    • Florence Delay
    • Arielle Dombasle
  • Ver la información de producción en IMDbPro
  • CALIFICACIÓN DE IMDb
    7.7/10
    13 k
    TU CALIFICACIÓN
    • Dirección
      • Chris Marker
    • Guionista
      • Chris Marker
    • Elenco
      • Amilcar Cabral
      • Florence Delay
      • Arielle Dombasle
    • 44Opiniones de los usuarios
    • 62Opiniones de los críticos
  • Ver la información de producción en IMDbPro
    • Premios
      • 5 premios ganados en total

    Videos1

    Official Trailer
    Trailer 1:46
    Official Trailer

    Fotos46

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    + 40
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    Elenco principal11

    Editar
    Amilcar Cabral
    • Self
    • (material de archivo)
    Florence Delay
    • Narrator (French version)
    • (voz)
    Arielle Dombasle
    Arielle Dombasle
    • Self
    Riyoko Ikeda
    • Narrator (Japanese version)
    • (voz)
    Charlotte Kerr
    Charlotte Kerr
    • Narrator (German version)
    • (voz)
    Kim Novak
    Kim Novak
    • Self
    • (material de archivo)
    • …
    Alexandra Stewart
    Alexandra Stewart
    • Narrator (English version)
    • (voz)
    James Stewart
    James Stewart
    • Self
    • (material de archivo)
    • …
    Bin Akao
    • Self
    • (sin créditos)
    David Coverdale
    David Coverdale
    • Self
    • (sin créditos)
    • …
    Chris Marker
    Chris Marker
    • Self
    • (sin créditos)
    • Dirección
      • Chris Marker
    • Guionista
      • Chris Marker
    • Todo el elenco y el equipo
    • Producción, taquilla y más en IMDbPro

    Opiniones de usuarios44

    7.712.7K
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    Opiniones destacadas

    9alice liddell

    Documentaries record the real; this is beyond 'real'.

    When is a documentary not a documentary? SANS SOLEIL is a film comprising 'real' images, narrated with 'real' observations. The subject-matter is Japan, post-modernism, the erasion of memory, the flattening-out of history, decentring, surface, pastiche. It records life-styles, trends, habits, rites, artistic movements with the rigour of an anthropologist. It is a film about travel: throughout the world, throughout time. It is science fiction (Terry Gilliam's TWELVE MONKEYS fleshes out an anecdote here). It is a Borgesian fantasy, (the filmmaker is actually a fictional creation , Sandor Krasna). To call it a documentary, or even a film, would be like calling the Sistine Chapel a ceiling.
    Preston-10

    Better than Postcards

    This is one of these self-indulgent movies where the main objective is for the artist to draw the audience into his world under the assumption that there's a mutual agreement that what we observe may appear too distant and unreachable to us. It's kind of like if your mother-in-law came back from visiting Europe and she starts showing you all of her pictures for 2 hours. Chris Marker isn't so crude, however, I always felt that when one is experiencing the culture of a distant land the medium of film was never the choice way to experience it. Rather, the exploration of different cultures when traveling must be experienced within the moment, rather than taking the moment with a camera and experiencing it at home. This is where Sans Soleil becomes a success or a failure in the eyes of the audience: do we live in the moment close to the same way the filmmaker does? This is something only you can answer when watching it. Personally, It was all over the map for me (no pun intended), I think the traveler has the gift of reading people and of showing how their culture has become a mirror for their lives.
    10cromwell-3

    An amazement

    I've only seen this film twice, both on the same day, nearly fifteen years ago; and yet its poetic-philosophical themes, its melancholy, its images still remain with me. Viewing it was an intensely personal experience; I find myself a little startled to find that other people have seen it. I find myself plagiarising it constantly; I think of it at odd times (when I accidentally catch someone's eyes and immediately look away; whenever I visit San Francisco); it is a work of lingering and subtle beauty that percolates through my bloodstream, informing the hours and days, changing the things and ways I see...
    eyeseehot

    Nice images, but pretentious claptrap

    Some interesting shots strung together with a pretentious, artsy narration that mimics profundity in a familiar jejeune style. Assumptions include that the east is superior to the west, television is bad, capitalism evil, etc. Sample insight: "Pac-man puts into true perspective the balance of power between the individual and the environment." With a different narration it could be a much better film. One key to its superficiality: the people are only seen, never heard. The narrator's voice covers all, like ketchup. Marker has a good eye, a good feel for faces and gestures, but a mushy brain. If you're a young aspiring artist in an MFA program who's attracted to "theory" the humorless self-importance of this film may appeal to you.
    federovsky

    unwatchable twaddle

    One of the most worthless things I've ever seen put on celluloid. I had previously tried to get through it twice and failed - finding it miserably tedious. The images were barely more than home movie quality, every sentiment was abysmally banal, and there was something me than faintly self-congratulatory about it all. What on earth can Marker's fans get out of this…? He seemed to think he was the first westerner to set foot in Asia - and with a camera too! He tried to invest everything he saw with such utter gravity and meaning, but fell head first into every clichéd image and hackneyed idea of Asia there is. I waited for something to grab me… some remarkable insight or pearl of wisdom… nothing… just a film-maker (a fairly amateurish one) desperate to film every little oddity, and when there are none, every little banality.

    I knew this was going to be a hard ride, but I tried to shrug off any preconceptions and prejudices to give this another try. After only three minutes I had to hit the pause button. Later I tried again, a non-believer reading the Bible.

    Bland images. This kind of thing needs-pictures like Baraka to at least provide some justification. Five minutes are spent watching a Japanese street carnival. Marker takes a fascination in people that comes across as simply naïve. He waxes philosophical about a man frying food on a hotplate, presumably because it's the first time he has seen it happening. A Japanese cameraman of equal naivety might well point his camera at a little old woman frying chips in a British chippie and call it meaningful. Thankfully, nobody ever did.

    His camera craves little oddities, such as the temple of the beckoning cats, but it's no more than touristic innocence.

    The observation that people ought to look in the camera is typical of the 'aren't I being meaningful by seeing something that no-one else can?' attitude. But by doing so they are not revealing themselves with curiosity, only hiding themselves with insecurity.

    There are two ways of looking at every human emotion. A blithe side and a cynical side. Marker is full of the tourist's childish fascination in things he little understands, and which he photographs for precisely that reason. Every image is the gawping of an idiot - at the beginning we stare at people asleep on a ferry as if there is something unique and profound about this particular ferry this particular day.

    Drawing filigree connections is his main past-time: Marker thinks it clever to move from formal stylised movements of a Japanese traditional dance to awkwardness.

    He sets himself a challenge at the very beginning - how to follow an idyllic image of three Icelandic girls? Nothing works - certainly not the fighter plane he suggests. He gives us a long black pause instead. So, there's a game of meaning going on, couched in a game of imagery. Absolutely every piece of film here is the same.

    The woman's deadpan voice-over constantly riles. She has the tone of Virginia Woolf reading her suicide note. She is narrating the traveller's letters. It's earnest, adulatory - and you never forget it is Marker talking about himself, massaging his own ego through a fantasy girlfriend because it conveniently avoids the too-blatant first person. There's something unpleasantly adolescent, almost JD Salingerish, about this trick, and I instinctively resist.

    I felt like I was supposed to be impressed by the fact that Marker had travelled, had had reflections, that he was alive. It was not just self-congratulatory, but self-ratifying, self-aggrandizing; the immodesty of the adolescent that hasn't yet learned sophistication.

    At the end of it he had shown me nothing about the world or about people. He had made mountains out of philosophical molehills and was dining off the tale.

    Más como esto

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    8.2
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    7.5
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    Description d'un combat
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    8.6
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    La bataille des dix millions
    7.9
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    AI Jetée
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    ...A Valparaíso
    7.5
    ...A Valparaíso
    Le fond de l'air est rouge
    7.9
    Le fond de l'air est rouge
    Mouchette
    7.7
    Mouchette
    Noticias de casa
    7.3
    Noticias de casa

    Argumento

    Editar

    ¿Sabías que…?

    Editar
    • Trivia
      The scenes from Iceland were filmed by Haroun Tazieff in 1965, on the island Vestmannaeyjar. It shows 3 sisters, Kristbjörg Sigríður Kristmundsdóttir, born 1954, Halldóra Kristmundsdóttir, born 1957, and Áshildur Kristmundsdóttir, born 1959. They first found out about being in this film in June 2015.
    • Errores
      The narration refers to the year 4001 and the 40th century. But the year 4001 will belong to the 41st century, not the 40th.
    • Citas

      Narrator: I will have spent my life trying to understand the function of remembering, which is not the opposite of forgetting, but rather its lining. We do not remember. We rewrite memory much as history is rewritten. How can one remember thirst?

    • Conexiones
      Edited into The Green Fog (2017)
    • Bandas sonoras
      Sunless
      Composed by Modest Mussorgsky

      Arranged by Chris Marker (as Michel Krasna)

    Selecciones populares

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    Preguntas Frecuentes17

    • How long is Sans Soleil?Con tecnología de Alexa

    Detalles

    Editar
    • Fecha de lanzamiento
      • 2 de marzo de 1983 (Francia)
    • País de origen
      • Francia
    • Idiomas
      • Francés
      • Japonés
      • Inglés
      • Cantonés
      • Lenguaje de signos japonés
    • También se conoce como
      • Sans Soleil
    • Locaciones de filmación
      • 224 Grant Avenue, San Francisco, California, Estados Unidos(Florist is Podesta Baldocchi Grant Street shop)
    • Productora
      • Argos Films
    • Ver más créditos de la compañía en IMDbPro

    Taquilla

    Editar
    • Total en EE. UU. y Canadá
      • USD 30,878
    • Fin de semana de estreno en EE. UU. y Canadá
      • USD 6,460
      • 12 oct 2003
    • Total a nivel mundial
      • USD 31,111
    Ver la información detallada de la taquilla en IMDbPro

    Especificaciones técnicas

    Editar
    • Tiempo de ejecución
      1 hora 44 minutos
    • Color
      • Color
    • Mezcla de sonido
      • Mono
    • Relación de aspecto
      • 1.66 : 1

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