What I noticed in this film is that it keeps comparing Guinea-Bissau to Japan. Times where this is definitely showed are during the long takes of each country’s festival. I thought about how at first thought these countries are so different but they party in the same way. They have masks, people dancing in the streets, and musical “bands” playing vibrant music.
The long takes of these festivals, in my opinion, can represent memory since there weren’t any words coming from the narrator. While watching these festivals, it can make one feel nostalgic of many things whether it be family, fun, love, tradition, etc.. For me, the long takes had me feeling nostalgic of being a kid at the Macy’s Thanksgiving Parade because that is American tradition (even though it’s a relatively recent one when comparing to Japan and Guinea-Bissau).
Another scene that got that my attention was when the narrator was talking about the achievements of Africa like when they ran out the Portuguese and a dictator yet it shows an image of a continent that looks like it hasn’t achieved much. Was it suppose to conjure up a bitter memory? Like make the audience have a happy memory about something but in reality that something may not actually be that great?
As far as the article goes, it says that “Sans Soliel internal structure is designed to reproduce the random drifts of remembering, rather than any narratives or conventional storyline.” This makes sense because the images in the film really don’t tell a specific story, it just shows who celebrates what in what way, who prays in what way. And it shows these images at random times so there.
Montero, David. “Film also ages: time and images in Chris Marker’s Sans soleil.” Studies in French Cinema6.2 (2006): 107-115. Academic Search Complete. EBSCO. Web. 3 Apr. 2011.