关于某个未来的记忆

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

Gone and never to returnand being myself for alonea remembrance of things to comewho fancied being a human

Denise Bellon，法国女摄影师，全片都是用她的照片组成，见证法国的历史。Yannick Bellon是她的女儿，也是这部纪录片的编导

令人震惊的广度和深度。这种电影本应该批量出现才对。

“When post-war becomes pre-war”...Sans Soleil的女声，不那么出色的摄影师，她眼中的杜尚，杜尚眼中的艺术，有猫的艺术家和没有猫的艺术家，所有还没有发生的事都是未来在当下偷偷藏好的面具，唯一动态的影像是无名的手翻过杂志，无名的镜头与不留照片的电影导演，他说未来像你随便翻开的一页书一样走进了历史，于是每一个关于历史的故事都会是一部科幻小说。