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La Jetée | Sans Soleil
Licensor Information
Argos Films
Directed by: Chris Marker
One of the most influential, radical science-fiction films ever made and a mind-bending free-form travelogue, La Jetée and Sans Soleil couldn't seem more different-yet they're the twin pillars of one of the most daring and uncompromising careers in cinema history. Chris Marker, filmmaker, poet, novelist, photographer, editor, and now videographer and digital multimedia artist, has been challenging moviegoers, philosophers, and himself for years with his complex queries about time, memory, and the rapid advancement of life on this planet. These two films-a tale of time travel told in still images and a journey to Africa and Japan-remain his best-loved and most widely seen.
Details by Film
La Jetée
Year: 1963
Time: 28
Aspect Ratios
1.66:1
Audio
French Dolby Digital Mono 1.0
Streaming Options
15658.
+8560
Sans Soleil
Year: 1983
Time: 100
Aspect Ratios
1.66:1
Audio
French Dolby Digital Mono 1.0
Streaming Options
6087.
+2627
Release Information:
Technical Specifications
Format:
DVD
Disc:
DVD-9 (1 Disc)
Total: 1 Disc
Regions:
1 (DVD)
Aspect Ratio:
1.66:1
Audio Options:
French Dolby Digital Mono 1.0
Resolution:
480p/29.97
Subtitles:
English
Supplements
Types of Supplements Included: Interview, Television Program, Booklet
- Two interviews with filmmaker Jean-Pierre Gorin
- Two excerpts from the French television series Court-circuit (le magazine): a look at David Bowie’s music video for the song “Jump They Say,” inspired by La Jetée, and an analysis of Hitchcock’s Vertigo and its influence on Marker
- A booklet featuring a new essay by Chris Marker scholar Catherine Lupton, an interview with Marker, notes on the films and filmmaking by Marker, and more
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La Jetée
Sans Soleil
Picture
Audio
Supplements
Artwork
Release Credits
Producer: Kim Hendrickson
Artwork: Tom Bean
Release Notes on Restoration
La Jetée
La Jetée is presented in the aspect ratio of 1.66:1. On standard 4:3 televisions, the image will appear letterboxed. On standard and widescreen televisions, black bars may also be visible on the left and right to maintain the proper screen format. Approved by director Chris Marker, this high-definition digital transfer was created on a Spirit 2K Datacine. La Jetée was mastered from a 35mm fine-grain master positive. To maintain optimal image quality through the compression process, the picture on this dual-layer DVD-9 has been encoded at the highest-possible bit rate for the quantity of materials included.
The soundtrack was mastered at 24-bit from a from 35mm optical track print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The Dolby Digital 1.0 signal will be directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound.
The soundtrack was mastered at 24-bit from a from 35mm optical track print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The Dolby Digital 1.0 signal will be directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound.
Sans Soleil
Sans Soleil is presented in the aspect ratio of 1.66:1. On standard 4:3 televisions, the image will appear letterboxed. On standard and widescreen televisions, black bars may also be visible on the left and right to maintain the proper screen format. Approved by director Chris Marker, this high-definition digital transfer was created on a Spirit 2K Datacine. Sans Soleil was mastered from a 35mm interpositive. To maintain optimal image quality through the compression process, the picture on this dual-layer DVD-9 has been encoded at the highest-possible bit rate for the quantity of materials included.
The soundtrack was mastered at 24-bit from a from 35mm optical track print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The Dolby Digital 1.0 signal will be directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound.
The soundtrack was mastered at 24-bit from a from 35mm optical track print, and audio restoration tools were used to reduce clicks, pops, hiss, and crackle. The Dolby Digital 1.0 signal will be directed to the center channel on 5.1-channel sound systems, but some viewers may prefer to switch to two-channel playback for a wider dispersal of the mono sound.