I honestly couldn’t take this film anymore. Out of all the films that we’ve watched so far, this film has taken the cake/honorary award for most confusing film. I literally could not follow what was going on here with this film. But, I guess that’s what it was meant to do. Because it’s a postmodernist film, like Discreet Charms of The Bourgeoisie, randomness plays a key role here. What was so complex to me were the images that were trying to coincide with the narration of the letters. I really couldn’t understand the connection at all. As Carol Mavor explains in her article Happiness With a Long Piece of Black Leader: Chris Marker’s Sans Soleil, you were shown a few images of Icelandic children playing around in a field with the narrator talking, then the film cuts to just being a black screen, still with the narrator talking, and then you’re being shown some images of an army aircraft. What? It just doesn’t make sense. Mavor also says, “When you are in in Marker’s sunless cinema, you lose your location, your perspective, your linear mind.” This accurately described my experience of the film.
As professor Monroy said, when watching the film, we had to kick back and relax and just take it in. Yeah well I tried doing that and it just didn’t work for me. This whole film was like a double rainbow. Really, what does it mean.
MLA for article:
MAVOR, CAROL. “HAPPINESS WITH A LONG PIECE OF BLACK LEADER: CHRIS MARKER’S SANS SOLEIL.” Art History 30.5 (2007): 738-756. Film & Television Literature Index. EBSCO. Web. 3 Apr. 2011.