Matches for: “one day in the life” …

One Day in the Life of Andrei Arsenevich by Chris Marker

Chris Marker writes what is reproduced below in extreme modesty, given the depth of his film: its astute insights into Tarkovsky’s film language & signature motifs, its palpable emotional presence that embues the intimate family scenes, his empathetic camera and commentary. He is not an outsider here; he is family too in Tarkovsky’s largesse as Marker captures a home movie of the reunion of Andrei Arsenevich’s family after five years of implacable bureaucracy – and the nostalghia that forms the atmosphere of exile.

The text appears on the back cover of the US DVD containing his and two other films, Sergey Dvortsevoy’s In the Dark and Marina Goldovskaya’s Three Songs About Motherland, which he places on the DVD with equality and a view to expanding the awareness of contemporary US audiences regarding Russian filmmaking. We know, though, for him, Tarkovsky is in a league of his own. In person, Marker referred to him simply as “le maître.” [Forum des images aka Vidéothèque de Paris café, July 1991]

We add after Marker’s text the summary of the film given by Icarus Films on their site. More material, more quotes will follow, in the minor-key, unsung tradition of bricolage.

THREE SONGS ABOUT MOTHERLAND, the title of Marina Goldovskaya’s inspired wandering throughout her country, could have been used as a general title for this DVD. Each of us in his manner sings the paean or the doom of a place on Earth that defies any rational grasp.

I had the easiest task. Entering Tarkovsky’s world carries you within a sumptuous chorale, a multivoiced fugue that encompasses all that’s Russian. Marina, since years, pursued a patient pilgrimage home, with her unique gift to mix with people and extract the best of them. As for Sergey Dvortsevoy and his blind man, he illuminates the Russian way to embody what has been since Antiquity the natural hobby of sightlessness: prophecy.

The night Stalin died, I was on Times Square, beside another blind man: Moondog, the musician. I couldn’t help feeling something metaphorical in this confrontation between blindness and history. There we were, like the apes at the beginning of Kubrick’s “2001”, facing an opaque, indecipherable monolith. So is the blind man in his basement, facing the enigma of an opaque, indecipherable country which he manages to graze with the help of his companion the cat, the creature who sees what even the seers don’t see.

Sometimes we come to the conclusion that Mother Russia just can’t be analyzed, criticized, dismantled, explained: too complex, too brutal, too elusive, too paradoxical, too cavorting… Sometimes even, to my dismay, she can’t be loved. But still, yes, she can be sung.
Chris Marker, back cover of DVD, One Day in the Life of Andrei Arsenevich

Tarkovsky and Chris Marker on set of The Sacrifice

Through film clips, journal entries, and personal musings, ONE DAY IN THE LIFE OF ANDREI ARSENEVICH is renowned French filmmaker Chris Marker’s homage to his friend and colleague, Andrei Tarkovsky, who died in 1986.

Widely regarded as one of the greatest filmmakers of the 20th century, and certainly the most important post-War Russian filmmaker, Andrei Tarkovsky has achieved a mythic status with such visionary masterpieces as Andrei Rublev, Solaris and Stalker. His stylistic idiosyncrasies: minimal plots, fragmented narrative, and long takes have become staples of the modern art film. His confrontations with the Soviet government, the censorship of his films, and his eventual exile only contributed to his mystique.

Through close readings of Tarksovsky’s films – including rare scenes from his student film (an adaptation of Hemingway’s The Killers) and a practically unknown production of Boris Goudonov – Marker attempts to locate Tarkovsky in his work. Parallels drawn by Marker between Tarkovksy’s life and films offer an original insight into the reclusive director. Personal anecdotes from Tarkovsky’s writings – from his prophetic meeting with Boris Pasternak (author of Dr. Zhivago) to an encounter with the KGB on the streets of Paris (he thought they were coming to kill him) – pepper the film.

With behind-the-scenes footage of Tarkovsky obsessively commanding his entire crew (including famed Bergman cinematographer Sven Nykvist, during the filming of a complicated sequence from his final film The Sacrifice), and candid moments of Tarkovsky with his friends and family, bedridden but still working on the editing of his final film, ONE DAY IN THE LIFE OF ANDREI ARSENEVICH is a personal and loving portrait of the monumental filmmaker.

“**** (4 stars). A masterpiece! Marker’s ONE DAY IN THE LIFE OF ANDREI ARSENEVICH [is] the best single piece of Tarkovsky criticism I know of, clarifying the overall coherence of his oeuvre while leaving all the mysteries of his films intact. The video interweaves biography and autobiography with poetic and political insight in a manner that seldom works as well as it does here.”
—Jonathan Rosenbaum, Chicago Reader

“A brilliant appreciation of the last great Soviet director, Andrei Tarkovsky. No less then Jean-Luc Godard or Martin Scorsese, Marker is an original and perceptive exegete of other filmmakers…. The most sustained and heartfelt tribute one filmmaker has paid another.”
—Jim Hoberman, Village Voice

“A sublime meditation on the poetic, surreal universe of Tarkovsky.”
—Los Angeles Times

“Fascinating! What makes Chris Marker’s documentary such an invaluable gift is that his insights into the director are so accessible – and so provocative. Not only is it a remarkable analysis of Tarkvosky’s brilliance; it’s also a showcase for Marker’s.”
—Time Out New York

“A superb analysis of Tarkovsky’s lyrical vocabulary. You’ll be hard pressed to find a more thorough explication of Tarkovsky’s vision than the one provided by Marker here.”
—Dallas Observer

“A film that defies categorization as a documentary, or even as a ‘film essay’ …A love letter is more like it: personal, passionate, unguarded. The meat of the film is a dazzling montage, drawn mostly from Tarkovsky’s work, but reorganized into illuminating new patterns… inspiring us to make our own observations and connections.”
—LA Weekly

“Even those of us who find Tarkovsky’s films more tedious than tantalizing will appreciate the care and love that went into this reflection on the man and his work. I can’t remember any film capturing an artist more intimately…”
—Detroit Free Press

“Chris Marker’s informative tribute to the late Andrei Tarkovsky is an important contribution to film scholarship.”

“Chris Marker’s ‘One Day in the Life of Andrei Arsenevitch’ is perhaps the best film yet made by one (great) film-maker about another. A revelatory document, loving, lucid and lyrical, on the elemental structuring of Tarkovsky’s work, it marries moving footage of the terminally ill director shooting and struggling to finish his final film ‘The Sacrifice’ with an exemplary assessment of the films and their importance, humane, humble and always open. In its own essential way, it too is a masterpiece.”
—Gareth Evans, The Andrei Tarkovsky Companion

2001 DoubleTake Documentary Film Festival
2000 Berlin Film Festival
2000 San Francisco Film Festival
2000 Toronto Film Festival
2000 Telluride Film Festival

Icarus Films

Happy Birthday (Belated) Chris Marker

I am remiss. I write from the road, thinking of Chris Marker, the most famous of unknown filmmakers, having just seen a comment from John P noting the missing birthday wishes on the 29th of July. So it is belated and a bit melancholic that I send out whispers to the higher worlds where Marker’s soul is no doubt off on new expeditions, having completed more of a life all across the Earth than can be put into words. I am reminded too of the once annual event of Chris Marker digital postcard—and of course one did not come this year, but here are a few from the past.

Year of the Dragon 2012 Chris Marker

Year of the Cat 2011 Chris Marker

Year of the Tiger 2010 Chris Marker

Bonne Annee 3009

The most fun that has been had with the varying fables of Marker’s birth and birthplace that I have seen comes from M. Chazalon at – Plongée en Immémoire. Hard to translate, but I’ll give it a go soon… Thanks CH2!

Non! Non! Non! Non! Non! Chris Marker n’est pas né en Helvétie, mais bien comme tout le monde le sait à Oulan-Bator, en Mongolie1.
A la suite d’une déception sentimentale de l’Empereur chinois, bien avant le grand bon en avant de maître Mao qui tenait dans son bec un stylo, et sous la douce influence de la bolchévique Union des Républiques du Suprême Soviet Système Social, plus connue de part les contrées de notre voisin sous le nom de SMIC, Chris Marker est transporté pour une croissance améliorée dans les montagnes qui tombent à pic de l’Himalaya où, à la suite d’une embuscade des pirates des mers de Chine, il est finalement récupéré par le gentil bonhomme des neiges Yéti qui décida, nom d’un fromage (ce pourquoi tout le monde pense qu’il est Suisse), de l’aimer comme son fils. C’est d’ailleurs la raison primesautière pour et par laquelle Chris Marker aime tellement les chats2, car comme il est bien connu de tous, “gratter la barbichette du Yéti, il devient tout gentil”, un peu comme un chat, en un peu plus grand. Quelques années plus tard, bien agrandi par cet amour yétiesque, il est décidé de l’envoyer en Argentine pour ses études, en échange Nostradamus des écoles primaires. Là, il étudie aux côtés du bonhomme Fidel et de son ami Bon Débarras, surnomé le Quoi3 allez savoir pourquoi. L’échange terminé, attiré par la gente féminine d’une nature si féline (la pilosité en moins), bifurcation volontaire est prise pour Paris sera toujours Paris, où un savant philosophe du nom de Sartre, à défaut de l’adopter par amour des Yétis, fut engagé par la municipalité pour inculquer à ses semblables, mais pas à lui, la bonne volonté et un peu de sagesse divine, la Bohème et le Spleen étant passés pour ne plus revenir.4
Ainsi sont les premières années officieuses de la vie de Chris Marker. Une histoire bien connue et qui réchauffe le coeur… dont vous pouvez lire la véritable suite et commencement sous “Biographie”.

Happy Birthday Chris Marker

Bon anniversaire Chris!

What else is there to say? Everything’s been said. Birth and death like an oroborous, the legendary snake eating its tail, where the date July 29, 1921 superimposes itself on another date, July 29, 2012. The two dates merge in an origami fold. Inside the fold is an extraordinary life and a wealth of extraordinary works. Inside is a cat, stretching its paws to the sound emanating from the speakers, a cat reclining on a keyboard. Inside is a love affair with cinema, and a Japanese bow to Kurosawa, Tarkovsky and Hitchcock. Inside is a spiral, a tree trunk, the madness of time. Inside are thousands of photographs, each emanating the gaze of the master spectator, the man behind the camera and very rarely in front of it. Inside the fold are memories and a system of memories, strongholds against the onslaught of history’s wounds, erasures, distortions. Inside the fold is the Zone, a place where images mutate and take on disguises, where seekers wander in search of lost time, where stray dogs pace and owls sit with observant eyes, recording. The birth and the death touch like this, like the creation of Adam. The original breath of the baby, the last breath of the old man, still working, always working. The tears of friends and lovers, innumerable fans for the most famous of the unknowns. A loss is felt, because we care for the visions given to us by a man of vision. We care for the traces, relics, breadcrumbs left as a puzzle for our minds but also our hearts. Mysteries of time and remembrance, tastes of the futures fractal in the micro/macro, traces of the places he traveled. The dogs are crazy on the island of Sal, and all the other islands. “I found my dogs pretty nervous tonight; they were playing with the sea as I had never seen them before. Listening to Radio Hong Kong later on I understood: today was the first day of the lunar new year, and for the first time in sixty years the sign of the dog met the sign of water.” He was an island but also a continent, unfindable on any map. There be dragons. There be mysteries. There be celebration, rueful meditation and admiration.

Here’s an intelligent, fun video compiled by ARTE:


“A more modest and perhaps more fruitful approach might be to consider the fragments of memory in terms of geography. In every life we would find continents, islands, deserts, swamps, overpopulated territories and terrae incognitae. We could draw the map of such a memory and extract images from it with greater ease (and truthfulness) than from tales and legends. That the subject of this memory should be a photographer and a filmmaker does not mean that his memory is essentially more interesting than that of the next man (or the next woman), but only that he has left traces with which one can work, contours to draw up his maps.”

Chris Marker, Immemmory

Tagged ,

Happy 90th Birthday Chris Marker!

As has become a mini-tradition, we would like to extend a very happy birthday to Chris Marker (a day belated).

Marker is now 90 years old and continues to intrigue and inspire, gather new interest among younger generations, and appear on the cultural radar globally—most recently with Les Rencontres d’Arles’ annual photography exhibition, the release of One Day in the Life of Andrei Arsenevich on DVD, and the Passengers exhibition in New York at the Peter Blum Gallery.

There is so much to say, so much depth and inspiration in this life/work, that somehow the words fail to adequately express our gratitude.

So, we leave it to you, in all your languages, from all your countries… We would again appreciate it if readers could add their birthday wishes and reflections in the comments to this post!

Chris Marker Guillaume Second Life Happy Birthday

As one of our most long-lasting correspondents  just wrote us of some recognitions:

In USA’s west coast:

In France (Arles):

In Germany:

1hr Radio Essay on Chris Marker

(Bayern2 Nachtstudio, Forum Essay 2011, May 17 2011, 20.30 – 21.30) “Wenn ich vier Dromedare hätte” Porträt des Filmessayisten Chris Marker Von Ulrike Haage Podcast (54MB) [link updated 8/1/12 to site of Ulrike Haage]

Another reader says in an email entitled “almost century man”: “ANYBODY NOTICED THAT CHRIS MARKER ACTUALLY REACHED 90 TODAY?” Another commment on a previous post: “I am writing on July 29th, 2011. Chris Marker is 90 today. Bon anniversaire, and long may he live.”

What do you have to say? Feel free to use this space as a canvas of your thoughts on how Marker has touched your life.

The Second Life of Chris Marker

Presented below is the official press release distributed by The Harvard Film Archive for its upcoming film series and live event. You can also view the program at the HFA site.

MAY 9 – MAY 16, 2009

CAMBRIDGE, MA: The Harvard Film Archive is thrilled to host a virtual event with legendary filmmaker Chris Marker titled THE SECOND LIFE OF CHRIS MARKER, on May 16. The event, which will take place in the virtual world of Second Life, will be preceded by screenings of Marker’s films May 9-11.

Chris Marker's OuvroirChris Marker (b. 1921) has been a source of continual fascination and endless speculation since he first emerged in the 1950s as one of the most original and elusive voices of the post-World War II French cinema. A brilliant practitioner and early pioneer of the essay film (In a revision of this text Marker was careful to assert that he did not “invent” the essay film and points to Nicole Védrès and her 1949 La Vie Commence Demain as a major influence upon his embrace of the essay form), Marker’s best known works are animated by a simultaneously playful and philosophical intertwining of documentary and fiction filmmaking techniques and traditions. The dense yet lyrical poesis of montage and voice created across Marker’s films found its fullest expression in Sans Soleil (1982), his celebrated meditation on travel, memory and cultural difference. Among the most politically committed and perceptive European directors, Marker has also created a series of pointed documentary interventions recovering repressed and repressive histories of dissent, whether locally, as in The Sixth Side of the Pentagon (1967), or globally, as in his tragic, sweeping magnum opus A Grin Without a Cat (1978).

Marker has remained famously indifferent to the popular spotlight – leaving all public appearances to Guillaume-en-Egypte, the ginger cat who serves as his pseudonym, mascot and muse – and adamant about his need for unmitigated independence as an artist (while not ruling out occasional work with select collaborators). Marker’s desire for a fully self-sufficient means of production, together with his search for a liberated narrative form to explore the slippages and superimpositions of individual and collective memory has drawn him to experiment with an incredible range of image technologies, from the photo book in his early years to small gauge 16mm and Super-8 cinema and then to video and video games and, most recently, the CD-ROM and Internet. Marker, whose work from as early as La jetée (1962) is deeply informed by science fiction, has an uncanny ability to predict the future and to be there already. In 2008, a commission for the Design Museum in Zürich gave way to the landmark exhibition Chris Marker. A Farewell to Movies, for which Marker, together with Viennese architect Max Moswitzer, created a cyber museum in the virtual world Second Life in order to reexamine and share examples of his photography, films and installation work. The Harvard Film Archive is proud to join Marker for an extremely rare live tour of his Second Life museum, Ouvroir, on Saturday, May 16th and, as a prelude, to present a focused retrospective of his films.

This program is co-presented by Icarus Films on the occasion of their release on DVD of nine Chris Marker films. Special thanks: Jonathan Miller and Lori Fried, Icarus Films; Lucien Bookmite; Max Moswitzer; Naomi Yang, Exact Change Press; Brigitte Bouvier and Eric Jausseran, Consulate General of France, Boston.

Chris Marker Screening Schedule

The Case of the Grinning Cat (Chats perchés)
Saturday May 9 at 7pm
In his latest film Chris Marker offers a lively, roaming examination of political dissent in 21st century France and an energetic return to the film essay form that he pioneered. Intrigued by the enigmatic appearance of an insouciant graffiti cat, grinning from ear to ear, perched defiantly high across the walls of Paris, Marker set out to track the feline pattern and the broader mood of the post-9/11 city. Marker’s search eventually leads him to discover a sudden reassertion of political voice by Parisian youth, a spirited defiance to the American invasion of Iraq and the insurgent French ultra-right, with the grinning cat an icon and emblematic participant.
Directed by Chris Marker.
France 2004, video, color, 58 min. French with English subtitles
Followed by
Sans Soleil
Marker’s ruminative, melancholy masterpiece channels the imagination of a lonely traveling cameraman—evoked in letters from distant Africa and Japan—into a profound meditation on the creative conjuring powers of memory, place and image. Among the most brilliant examples of the essay film, Sans Soleil uses a lyrical, associative structure to transform modern Japan into a vivid metaphor for the scintillating mosaic of fact, fiction and fantasy that defines the increasingly mediated image world in which we live. A crucial bridge between Marker’s adventurous earlier travel films and his growing interest in media and technology, Sans Soleil is one of Marker’s most dazzling and inexhaustible works.
Directed by Chris Marker.
France 1982, 16mm, color, 100 min. With English narration

A Grin Without a Cat (Le fond de l’air est rouge)
Sunday May 10 at 7pm
Marker’s incomparable editing skills attained a new level of sublimity and subtlety in his epic chronicle of the international New Left’s spectacular rise and fall. At turns mordant and mournful, A Grin Without a Cat uses an extraordinary range of source material – newsreels, propaganda films and Marker’s own footage – to construct a polyphonic, immersive and critical history of political struggle. “I am not boasting that I made a dialectical film. But I have tried for once (having in my time frequently abused the power of the directive commentary) to give back to the spectator, through the montage, “his” commentary, that is, his power.” – C.M.
Directed by Chris Marker.
France 1978, 35mm, color, 180 min. French with English subtitles

The Embassy (L’Ambassade)
Monday May 11 at 7pm
A potent study of political disorientation, state terrorism and exile, Marker’s “anonymous” 1973 Super-8 film reads as an allegory and vivid evocation of the violent paroxysms and unrest roiling Latin America and much of the world at the time.Directed by Chris Marker.France 1973, video, color, 21 min. French with English subtitles
Followed by
The Sixth Side of the Pentagon (La sixième face du Pentagone)
Marker’s charged rendering of the October 21, 1967 march on the Pentagon was made for a French “television magazine” and later distributed by the Franco-Belgian film collective, SLON). Integrating still photographs, voiceover commentary and dramatic actuality footage, Marker’s hard-hitting short represents a forcible mode of alternative reportage, a type of counter-newsreel made during a period of intense distrust of the mainstream media.
Directed by Chris Marker, François Reichenbach.
France 1967, video, b/w and color, 26 min. French with English subtitles
Sans Soleil
[see description above]

Special Event Tickets $10
Chris Marker’s Second Life, A Live Event
Saturday May 16 at 7pm

In conjunction with the 2008 exhibition Chris Marker. A Farewell to Movies at the Design Museum in Zurich, Chris Marker presented a series of exhibits of photography, film clips, video installations and other media work, all contained within a radically futuristic museum created in the popular virtual world and free Internet portal, Second Life. Designed and frequently updated by Viennese architect and computer guru Max Moswitzer and Margarete Jahrmann, Marker´s museum hovers motionless above the virtual archipelago Ouvroir, a creative geography of mysterious islands, sculptures and uncanny architecture. Over time, Ouvroir has continued to transform and expand as an interactive environment with new structures and exhibition spaces appearing regularly and often containing content related to Marker’s work.

Always at the very cutting edge of technological innovation, Marker long ago fully embraced the digital and virtual, producing in 1996 perhaps the only lasting and artistically ambitious CD-ROM, the fabulous Immemory, which expanded Marker’s fascination with the playful mirages of memory, history and the moving image into a nonlinear and engrossingly interactive environment. In 2006, Marker premiered a new film, the one minute Leila Attacks, on YouTube (where it can still be viewed at Marker has also been working for many years in digital photography, with a new exhibition, Quelle heure est-elle? opening in May at New York’s Peter Blum Gallery.

The Harvard Film Archive is pleased to host a truly historic live encounter with Chris Marker’s Second Life. Marker, who has often been sited – in the form of his avatar – in Ouvroir, has generously agreed to lead a guided tour and offer commentary on his latest creation, including special single-channel presentations of his video pieces Silent Movie and The Hollow Men, an occasion made all the more meaningful by the recent announcement that the museum will be dismantled later this year.

Harvard Film Archive
24 Quincy Street, Cambridge, MA 02138
(617) 495-4700
Tickets for regular screenings are $8 General Admission, $6 Harvard faculty and staff, seniors and non-Harvard students. Harvard students free to regular events. Tickets to special event screenings are $10.
Tickets go on sale 45 minutes prior to show time. The HFA does not do advance ticket sales.

Press Contact:
Brooke Holgerson
Publicity and Outreach
Harvard Film Archive
24 Quincy Street
Cambridge, MA 02138
holgers {at}

Chris Marker Films – Distribution

Under construction… Standby


Planète Chris Marker – Coffret 10 DVD
La plus grande collection sur Chris Marker : 14 films, dont 6 restaurés en 2013, ainsi qu’un livret de 120 pages.

Les plus grands films de Chris Marker, enfin réunis dans un même coffret :

La jetée – version restaurée
Sans soleil – Version restaurée
Le joli mai – Version restaurée
Loin du Vietnam – Version restaurée
Le fond de l’air est rouge – Version restaurée
Mémoires pour Simone – Version restaurée
La solitude du chanteur de fond
Le tombeau d’Alexandre
Chats perchés
DVD Moins de détails
Informations techniques

PAL – Zone 2 / Couleur et N&B / Formats cinéma respectés / Son Dolby Digital 2.0
Langues audio :
Sous-titres :
sous-titres sourds et malentendants
Durée film : 1200 min.
Durée totale du dvd : 1200 min.

Bonus Vidéo

Livret de 120 pages.
3 cartes postales

Compléments sur La Jetée – 30′
Autour du Joli Mai – 62′
Compléments sur Loin du Vietnam – 30′
Compléments sur Chats Perchés – 20′.

Mémoires pour Simone / La Solitude de chanteur de fond

deux films de Chris Marker
Nationalité : France

Deux documentaires uniques sur un couple mythique

« Mémoire des lieux. Une salle de projection dans la grande maison d’Autheuil, département de l’Eure : des bobines, des cassettes, des photos, des placards. Ce que l’on vous propose ici, ce n’est pas la vie de Simone, elle l’a racontée mieux que personne dans « La nostalgie… », ce n’est pas sa carrière, d’excellentes émissions de télévision y ont pourvu, c’est le contenu d’un placard, des petits bouts de mémoire en vrac, un voyage à travers les images qu’elle gardait. » nous dit Chris Marker à travers la voix de François Perrier.
Ami et témoin privilégié de la vie de Simone Signoret, parce que leurs chemins n’ont jamais cessé de se croiser depuis qu’ils se sont rencontrés à l’époque du Lycée Pasteur, Chris Marker fera, à la demande du 39ème Festival de Cannes en 1986, le plus beau film-hommage à celle qui disait avoir la nostalgie de la mémoire non partagée.

En février 1974, Yves Montand décide de chanter un soir à l’Olympia, pour les réfugiés chiliens en France. Il n’est pas remonté sur scène depuis 1968, avec le succès de « la bicyclette ». Et il n’a que douze jours pour se préparer…

Icarus Films

Icarus Films is proud to distribute 10 of Chris Marker’s films, plus his Bestiary, a collection of his short animal films, as well as Far From Vietnam and Class of Struggle—two collaborative productions that he helped initiate. Icarus Films also distributes two films about Marker’s legacy: Dan Geva’s Description of a Memory, a film Marker appreciated being shown alongside with his work, which examines the history of Israel through the lens of Marker’s own 1960 film Description of a Struggle, and To Chris Marker, An Unsent Letter, a posthumous homage by Emiko Omori.

Chris Marker Filmography

Level Five – A woman “inherits” a task: to finish writing a video game centered on the Battle of Okinawa.

The Case of the Grinning Cat (2004) – In his newest film, French cinema-essayist Chris Marker reflects on French and international politics, art and culture at the start of the new millennium.

Remembrance of Things to Come (2001) – Reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jetée), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy it’s pure Marker.

One Day in the Life of Andrei Arsenevich (1999) – Marker’s homage to his friend and colleague, Andrei Tarkovsky. A unique and intimate portrait of the legendary Russian filmmaker.

Chris Marker’s Bestiary (1994) – Five Chris Marker short films devoted to animals collected together and available for the first time!

The Last Bolshevik (1993) – Marker’s tribute to Russian film director Alexander Medvedkin.

A Grin Without A Cat (1977) – Marker’s epic film-essay on the worldwide political wars of the 60’s and 70’s: Vietnam, Che, May ’68, Prague, Chile, and the fate of the New Left.

The Embassy (1973) – In one of Chris Marker’s few fiction films, political dissidents seek refuge in a foreign embassy after a military coup d’état in an unidentified country.

Three Cheers for the Whale (1972) – Noted French documentarian Chris Marker chronicles the history of the whale and, in a more general manner, that of all marine mammals, in the process warning of the imminent destruction of the whale threatened by the fishing industry’s ongoing slaughter.

Class of Struggle (1969) – Workers at the Yema Watch Factory in Besançon depict their own labor struggles in this collective production initiated by Chris Marker.

A bientot, j’espere (1968) – Workers at a textile factory on strike in pre-May ’68 France, not just for more money, but for a different way of life.

The Sixth Side of The Pentagon (1967) – Chronicle of the 1967 Mobilization to End the War in Vietnam protest march on the Pentagon by documentary essayist Chris Marker.

Far from Vietnam (1967) – The landmark collaboration between Jean-Luc Godard, Joris Ivens, William Klein, Claude Lelouch, Chris Marker, Alain Resnais and Agnés Varda in protest of the Vietnam war.

Le Joli Mai (1963) – Chris Marker and Pierre Lhomme’s legendary portrait of Paris and Parisians at the close of the Algerian war.

2084, Chris Marker, 1984
«Le coup des lendemains qui chantent, on nous l’a tellement fait (…) Devant le bilan de l’époque des grandes vérités …
The French union CFDT jumps one century and celebrates 100 years of unionism by imagining the situation of unions in …
Thèmes associés : Engagement politique, Mouvements sociaux, Travail

A BIENTOT, J’ESPERE, Chris Marker, Mario Marret, 1967
En mars 1967 à Besançon, une grève éclate aux établissements Rhodiaceta qui font partie d’une chaîne d’usines de textiles dépendant …
Besançon 1967. A strike was called for at Rhodiaceta, a textile plant which is part of the Rhône-Poulenc trust. That



Téléphonez-nous au 33 (0)1 41 24 02 20
en précisant la date de projection.

Envoyez-nous un mail ou un fax de confirmation indiquant :

– le titre du film
– la date de projection
– le nombre de projections
– le nom, l’adresse et le téléphone
de la personne responsable de la projection

Pour la province : vous recevez les films à domicile. La veille de la projection. Ils doivent nous êtres renvoyés dès le lendemain de la projection. ( En précisant : livraison à partir de 10h30, en téléphonant avant de passer ).
Pour la région parisienne : le plus simple est que vous passiez chercher le film à notre adresse et que vous nous le rapportiez après la projection.

ATTENTION : La projection doit être confiée à une personne connaissant l’appareil, en prenant soin de vérifier le bon état de marche du projecteur (notamment la propreté des couloirs).
N’oubliez pas de remettre le film à l’endroit sur son carter d’origine.
Les copies sont vérifiées entre chaque projection. Si vous remarquez une détérioration, signalez-la nous. Si vous faites deux projections, vous devez vous engager à vérifier la copie entre les projections.
Si, en cours de projection, l’image se met à sauter, arrêtez immédiatement le projecteur ! Et reformez la boucle.

Bonne projection !

Les Films du Jeudi

Résultat(s) de la recherche :
Films réalisés par Chris MARKER
• Berliner Ballade de Chris MARKER (1990) – 29 mns
• Casque Bleu de Chris MARKER (1995) – 26 mns
• Chat écoutant la musique de Chris MARKER (1990) – 2 mns
• Chats Perchés de Chris Marker (2003) – 59 mns
• Détour, Ceaucescu de Chris MARKER (1990) – 8 mns
• E-clip-se de Chris MARKER (1999) – 8 mns
• From Chris to Christo de Chris MARKER (1985) – 24 mns
• L’Ambassade de Chris MARKER (1973) – 20 mns
• Le 20 heures dans les camps de Chris MARKER (1993) – 28 mns
• Matta ’85 de Chris MARKER (1985) – 14 mns
• Ouvroir, le film de Chris Marker (2010) – 29 mns
• Sixième face du Pentagone (La) de François REICHENBACH & Chris MARKER (1967) – 27 mns
• Slon Tango de Chris MARKER (1990) – 4 mns
• Théorie des ensembles de Chris MARKER (1990) – 11 mns
• Trois vidéos Haïkus de Chris MARKER (1994) – 3 mns


Les Films du Jeudi
3, rue Hautefeuille
75006 Paris

Tél : +33 1 40 46 97 98
Fax : +33 1 40 46 89 88

Email : [email protected]
Site Internet :

Argos Films

Level Five (1996)

Director : Chris Marker
Actors : Catherine Belkhodja, Tokitsu Kenji, Ushiyama Ju’nishi
Associate production company : Argos Films, Karedas
Genres : Fiction

Le Tombeau d’Alexandre (1993)

Director : Chris Marker
Co-production : Les Films de l’Astrophore
Genres : Documentary

Remembrance of Things to Come (1990)

Directors : Yannick Bellon, Chris Marker
Associate production company : Les Films de l’Équinoxe
Genres : Documentary
Synopsis : Through photos made by the French photographer Denise Bellon, a personal history of France.

AK (1985)

Director : Chris Marker
Actors : Tatsuya Nakadai, Akira Terao, Jinpachi Nezu, Ruy Daisuke, Micko Harada
Associate production company : Greenwich Film Productions

Sans Soleil / Sunless (1982)

Director : Chris Marker
Associate production company : Argos Films

Complete Argos catalogue: