The creation of the need, and the desire, to see things again is part of the method of Sans Soleil, and also, perhaps, its real subject. What Marker means to communicate to us is the solitude of the film editor at his machinery, his reverie over the footage he’s shot… the scenes he watches over and over again. He wants to explain… how images are replayed as memories, as obsessions, and as the troubled dreams of travelers.
The creation of the need, and the desire, to see things again is part of the method of Synecdoche,
Sans Soleil seems… to be generating its own questions in the audience, like: Where are we now? Is this a film about
Several random thoughts:
We might consider Synecdoche,
Charlie Kaufman wants to be Woody Allen.
Charlie Kaufman is smarter, and more interesting, than Woody Allen.
If the act of creation is fear of a blank page, then Synecdoche,
He is afraid to fill it up.
Kaufman craves rejection and fears recognition
Kaufman craves recognition and fears rejection
(The above italicized texts are from a Terrence Rafferty article on Chris Marker’s Sans Soleil in Sight and Sound magazine, autumn 1984. My variations on his words, and how they relate to Charlie Kaufman’s Synecdoche