A woman narrates the thoughts of a world traveler, meditations on time and memory expressed in words and images from places as far-flung as Japan, Guinea-Bissau, Iceland, and San Francisco.

A man is sent back and forth and in and out of time in an experiment that attempts to unravel the fate and the solution to the problems of a post-apocalyptic world during the aftermath of WW3. The experiment results in him getting caught up in a perpetual reminiscence of past events that are recreated on an airport’s viewing pier.

1961 film by Chris Marker

Working primarily in the arena of nonfiction, Marker rejected conventional narrative techniques, instead staking out a deeply political terrain defined by the use of still images, atmospheric soundtracks, and literate commentary. In Description d’un Combat, Marker’s idiosyncratic style, combining location footage with archival material, builds a complex and personal portrayal. Israel’s demography is explored, from the kibbutzim to the Arab minorities, the orthodox Jews, and the tourists. The “battle” of the title does not refer to the tank-and-artillery variety, but to the inner struggle of Israeli citizens to adapt to a new view of themselves, in a new country.

Chris Marker’s travel essay Sunday in Peking transforms a long-held childhood dream into a cinematic journey through Beijing. Blending documentary observation with reflective narration, Marker captures the city’s rhythms, traditions, and everyday life in mid-1950s China with his signature curiosity and lyricism.

Chris Marker films a cat reacting to the sound of a piano playing.

One day, at the stroke of evening, on Emeryville beach in San Francisco, where unidentified artists, leave, without anyone knowing, sculptures manufactured with items that have washed ashore from the sea.
This includes a short introduction by arte, approx. 1:12 secs long, with the film being around 6 minutes itself....there are 2 intertitles in the film itself, giving the latitudanal and longitudanal co-ordinates of the beach. No subtitles required, but ill work on some anyways.

REMEMBRANCE OF THINGS TO COME, the latest "cine-essay" of Chris Marker, is dense and demanding, a splendid reminder that his nimble, capacious mind has lost none of its agility, poetry, and power. Ostensibly a portrait of photographer Denise Bellon, focusing on the two decades between 1935 and 1955, the film leaps and backtracks, Marker-style, from subject to subject, from a family portrait of Bellon and her two daughters, Loleh and Yannick (the latter co-authored the film), to a wide-ranging history of surrealism, of the city of Paris, of French cinema and the birth of the cin (C)mathque, of Europe, the National Front, the Second World War and Spanish Civil War, and postwar politics and culture.Full of Marker jokes (a great one about artists and cats), word play (Citroen/citron), filmic homages (Musidora makes a memorable appearance), peculiar art history, a consideration of the 1952 Olympics, and astounding segues from French colonialism in Africa to women in the Maghreb, to a Jewish wedding and gypsy culture in Europe, to Mein Kampf and the Nazi death camps (Birkenau, Auschwitz), the film opens with Dali and ends with Mompou, traversing in its short time a world of thought, feeling, and history.A small masterpiece of montage, REMEMBRANCE OF THINGS TO COME is from moment to moment reminiscent of Resnais, Ivens, even Kubrick, but in its deployment of still photographs (as in La Jet (C)e), its theme of history and memory, its subject-skipping montage and rapid shuttle of wit and philosophy, REMEMBRANCE is pure, marvelous Marker. -- © First Run/Icarus Films

THREE CHEERS FOR THE WHALE chronicles the history of mankind's relationship with the largest and most majestic of marine mammals, and graphically exposes their slaughter by the fishing industry. Chris Marker's co-director, Mario Ruspoli, descendant of an aristocratic Italian family, had been a journalist, painter and ethnologist before discovering his vocation as a documentary filmmaker. In the Sixties he became one of the founders -along with Jean Rouch, Edgar Morin and Chris Marker- of the "direct cinema" movement, pioneering in the use of new lightweight cameras and synchronous sound recording equipment.

A variety of owls look around. Sometimes they sleep. They seem to say something with their eyes. There are mice and young owls too.

Candid interviews of ordinary people on the meaning of happiness, an often amorphous and inarticulable notion that evokes more basic and fundamentally egalitarian ideals of self-betterment, prosperity, tolerance, economic opportunity, and freedom.

An inventor builds a homemade spacecraft, and uses it to have various adventures, including peeping at women, visiting ‘human’ planets, and becoming involved in intergalactic warfare.

Commissioned by the journal Présence Africaine, this short documentary examines how African art is devalued and alienated through colonial and museum contexts. Beginning with the question of why African works are confined to ethnographic displays while Greek or Egyptian art is celebrated, the film became a landmark of anti-colonial cinema and was banned in France for eight years.

A faceless traveller takes a journey through the barren reaches of a Siberia caught between tradition and modernity, imparting his philosophical musings on its people and places, wildlife and culture.

Video on the mass media response to the bardo-traversing of Steve Jobs. Long live the archive and the archivist.

Pictures, collages, well, call'em XPLUGS

The French computer programmer Laura inherits the task of making a computer game of the Battle of Okinawa in Japan during World War 2. She searches the Internet for information on the battle, and interviews Japanese experts and witnesses. The extraordinary circumstances of the Battle of Okinawa lead Laura to reflect deeply on her own life and humanity in general, particularly the influence of history and memories.

Chris Marker’s A Grin Without a Cat is an epic political essay tracing the rise and decline of the global left from the 1960s to the 1970s. Through archival footage and commentary, the film examines revolutionary movements in France, Latin America, and beyond, reflecting on the ideals, failures, and fading hopes of a generation.