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Sans soleil

  • 1983
  • Tous publics
  • 1h 44min
NOTE IMDb
7,7/10
13 k
MA NOTE
Sans soleil (1983)
A woman narrates the contemplative writings of a seasoned world traveler, focusing on contemporary Japan.
Lire trailer1:46
1 Video
46 photos
DocumentaryDrama

Une femme raconte les écrits contemplatifs d'un voyageur expérimenté, en se concentrant sur le Japon contemporain.Une femme raconte les écrits contemplatifs d'un voyageur expérimenté, en se concentrant sur le Japon contemporain.Une femme raconte les écrits contemplatifs d'un voyageur expérimenté, en se concentrant sur le Japon contemporain.

  • Réalisation
    • Chris Marker
  • Scénario
    • Chris Marker
  • Casting principal
    • Amilcar Cabral
    • Florence Delay
    • Arielle Dombasle
  • Voir les informations de production sur IMDbPro
  • NOTE IMDb
    7,7/10
    13 k
    MA NOTE
    • Réalisation
      • Chris Marker
    • Scénario
      • Chris Marker
    • Casting principal
      • Amilcar Cabral
      • Florence Delay
      • Arielle Dombasle
    • 44avis d'utilisateurs
    • 62avis des critiques
  • Voir les informations de production sur IMDbPro
    • Récompenses
      • 5 victoires au total

    Vidéos1

    Official Trailer
    Trailer 1:46
    Official Trailer

    Photos46

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    Rôles principaux11

    Modifier
    Amilcar Cabral
    • Self
    • (images d'archives)
    Florence Delay
    • Narrator (French version)
    • (voix)
    Arielle Dombasle
    Arielle Dombasle
    • Self
    Riyoko Ikeda
    • Narrator (Japanese version)
    • (voix)
    Charlotte Kerr
    Charlotte Kerr
    • Narrator (German version)
    • (voix)
    Kim Novak
    Kim Novak
    • Self
    • (images d'archives)
    • …
    Alexandra Stewart
    Alexandra Stewart
    • Narrator (English version)
    • (voix)
    James Stewart
    James Stewart
    • Self
    • (images d'archives)
    • …
    Bin Akao
    • Self
    • (non crédité)
    David Coverdale
    David Coverdale
    • Self
    • (non crédité)
    • …
    Chris Marker
    Chris Marker
    • Self
    • (non crédité)
    • Réalisation
      • Chris Marker
    • Scénario
      • Chris Marker
    • Toute la distribution et toute l’équipe technique
    • Production, box office et plus encore chez IMDbPro

    Avis des utilisateurs44

    7,712.7K
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    Avis à la une

    10carrienations

    This is not a documentary

    To call this film a documentary is to cheapen it. It's life on screen, not a mere document. It's poetry... and I'm not sure that word is adequate. How about your view of how you live and the world around you? Have you ever seen a film that gave you the questions to ask yourself? This film is startling... I can't praise it enough. My mind was exhausted by considering the layered imagery, both audio and visual, and the contextual shifts between them. How does anyone pick up a camera after seeing this? You might as well toss it in the trash because Marker has made Earth's last film.

    It's a crime that this film is not available on VHS or DVD in the U.S. Fans of this film should also seek out "The Koumiko Mystery", another transcendant film by Chris Marker.
    10the red duchess

    In the entire history of cinema, there have been only two truly important, indispensible, founding films - this is one of them.

    'Sans Soleil' opens with a ferry trip to Japan, with the camera peering at sleeping passengers. This is a perfect encapsulation of the film as a whole, a beautiful mixture of journey and dream. The film is ostensibly a documentary, that holier-than-thou genre convinced of its own superior truthfulness. And the film is full of documentary images, snapshots from the faraway places Marker visits, Japan, Africa, South America, San Francisco, Iceland, Paris. The film is full of the observations of the filmmaker about the cultures he observes.

    But 'Sans Soleil' couldn't soar further from the prosaic ambitions of the documentary. Like the film it most resembles, Marker's own 'La Jetee', it is in fact a work of science fiction, as much about time travel as literal travel. Each place Marker visits is stripped of its familiarity, and made eerie, alien. Concrete images become springboards for dizzy philosophical speculations. The film moves with ease from the court of 11th century Imperial Japan to the revolutionary struggles in 1960s Africa to emus on the Ile de France to an interpretation of Hitchcock's 'Vertigo' to astrological rumination on a desert beach, and still remains thematically coherent and full of the most startling connections.

    It is this structure that creates the feel of science fiction, the linking of seemingly disparate images, symbols, stories, experiences, places to create a strange pattern which emanates something spiritual, that seems to make sense of increasing chaos, dislocation, displacement. But we are constantly reminded that these are secular, man-made, ad-hoc, arbitrary constructions, as phantom as the relationship in 'La Jetee', but, similarly, a necessary construction to cover the abyss.

    The distortion of the soundtrack, the mixture of silence and mooged classics; the computer visuals of Marker's friend, known as The Zone, which seep conventional, representational images and turn them into ghosts, traces, stripped of history, recognisability, humanity; the film's fictional framework (the narrative comprises letters to the narrator by the filmmaker, Sandor Krasna) all add to this unsettling science fiction appropriation of the documentary genre.

    When the history of cinema comes to be written in centuries to come, there will really only be two films that will survive from its first century, films dense, supple, playful, renewable enough, and full of enough possibilities for future direction, to transcend the local, the generic, the pretentious, the narrative. One is that final gasp of modernist cinema, 'Vertigo'; the other is this epitome of post-modernity. in many ways, 'Sans Soleil' is a stunning exegisis on Hitchcock's masterpiece (which had only just been re-released after two-decades withdrawel), echoing its circular structure, its concern with time, memory, the elusiveness of history.

    'Soleil' locates the crisis of post-modernity in Japan, that most modern of modern capitalist societies. With the curiosity of an anthropologist, the good humour of an essayist, and the eye for the unusual of a rare filmmaker, Marker gives us a Japan we rarely see, even in the country's own cinema; on the one hand a culture of startling modernity, leading the way in computers, technology, department stores etc., on the other full of residual traditions, rituals, superstitions, ceremonies, going back centuries. The co-existence of these two time-scales has resulted in a kind of blur, a temporal vacuum, whereby all sense of time and perspective is lost, where religious ceremonies for the souls of stray pets co-exist with state-of-the-art video games.

    Japan is like a ship that has lost its anchor, where all time is the same, and therefore irrelevant, just as Scottie Ferguson wanders around dazed, in a loop of fantasy and distorted memory. Without history, memory, a culture ceases to be a culture and lays itself open to all sorts of vulnerability. But this lack of foundation ironically leads to a greater freedom, particularly of the mind, and the film, as it reaches its conclusion, becomes visionary and hallucinatory.

    'Soleil' is anything but bleak - its stories, myths, cultural tidbits, observations are unfailingly entertaining and full of good humour. Krasna compares the overcultured, saturated Japan to the timeless emptiness of Africa, to the spooky otherworldliness of Iceland, as his 'objective' narrative becomes increasingly a personal odyssey that must be teased out from hints and ellipses. In its focusing on the minutae, the forgotten, the arcane, the ephemeral, the back alleys, the garbage, but suggesting that 'Soleil' is ultimately only one film out of a possible multitude made possible by new technologies, Marker's film is at once profoundly democratic yet exhilaratingly idiosyncratic; an apocalyptic vision teeming with life.
    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.
    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.
    flippo

    save this film for a day when you have energy

    I must be brief. This documentary, which splices in cuts from Vertigo and from some guerrilla films, is definitely worth seeing. Though a student of French literature, and therefore habitually and terminally bored by pretentious studies of memory, this movie is remarkable in the way it makes connections across continents through the filmmaker's memory, extended as it is by the visual images he has stored on film. To put it disrespectfully, there is a lot of eye candy in this film, some of which is extremely beautiful ... the computer graphics towards the end might even remind Cocteau fans of some of scenes from Blood of a Poet (these, though, were what I found to be a bit over the top). So far I have only seen this film once, and so many of the memories that it prodded just three weeks ago have faded, like for example the name of the composer whose Bez Solntse inspired the title, and the documentary on volcanic activity I saw somewhere sometime which was echoed in the section filmed in Finland. In any case, this film will give you insight into the fascinating co-existence of traditional and modern culture in Japan. This struck home with me because I lived in Asia during the 80s when the technology of video-games, computers, and stereophonic luxe were exploding in the very same culture in which colorful Hindu and golden Buddhist temples w/ smoking incense, bird-singing contests and kite races were popular Sunday diversions from production. Bref, a fabulous film. As others have suggested, be prepared to suspend the Hollywood mindset for this treat.

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    Histoire

    Modifier

    Le saviez-vous

    Modifier
    • Anecdotes
      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.
    • Gaffes
      The narration refers to the year 4001 and the 40th century. But the year 4001 will belong to the 41st century, not the 40th.
    • Citations

      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?

    • Connexions
      Edited into The Green Fog (2017)
    • Bandes originales
      Sunless
      Composed by Modest Mussorgsky

      Arranged by Chris Marker (as Michel Krasna)

    Meilleurs choix

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    FAQ17

    • How long is Sans Soleil?Alimenté par Alexa

    Détails

    Modifier
    • Date de sortie
      • 2 mars 1983 (France)
    • Pays d’origine
      • France
    • Langues
      • Français
      • Japonais
      • Anglais
      • Cantonais
      • Langue des signes japonaise
    • Aussi connu sous le nom de
      • Sans Soleil
    • Lieux de tournage
      • 224 Grant Avenue, San Francisco, Californie, États-Unis(Florist is Podesta Baldocchi Grant Street shop)
    • Société de production
      • Argos Films
    • Voir plus de crédits d'entreprise sur IMDbPro

    Box-office

    Modifier
    • Montant brut aux États-Unis et au Canada
      • 30 878 $US
    • Week-end de sortie aux États-Unis et au Canada
      • 6 460 $US
      • 12 oct. 2003
    • Montant brut mondial
      • 31 111 $US
    Voir les infos détaillées du box-office sur IMDbPro

    Spécifications techniques

    Modifier
    • Durée
      1 heure 44 minutes
    • Couleur
      • Color
    • Mixage
      • Mono
    • Rapport de forme
      • 1.66 : 1

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