Right here’s a warning would-be screenwriters are all the time given: don’t use voiceovers. Right here’s a factor would-be administrators of movement footage are all the time given: make the photographs in your film transfer. Chris Marker didn’t hearken to both of those instructions, and ended up making one of many biggest science fiction films ever made: La Jettée. Marker’s 1962 masterpiece is 28 minutes lengthy, and consists solely of nonetheless photographs and voice over. It’s superb. Terry Gilliam’s 12 Monkeys is loosely primarily based on the shorter movie, however they’re very totally different works. Right here’s extra from Criterion:

Nonetheless, as every one in every of La Jetée’s static photographs lasts significantly longer than 1/24 of a second, on celluloid every nonetheless in La Jetée really includes dozens of replicas of itself. In presenting us with a collection of frozen photographs, Marker dramatizes a breakdown of time’s invisible stream right into a succession of seen moments that is likely to be thought of the person atoms of time, and of our expertise of time. Certainly, when the movie’s hero journeys into the distant future, that new world is represented as a collection of microscope photographs.

Time strikes in a different way on this extraordinary essay on cinematic tense, and from the beginning, our perceptions of previous, current, and future endure unusual mutations. The tense of the narrative shifts between previous and current, the latter used predominantly to relate the hero’s return to a misplaced previous. That previous is the Paris of the current during which the movie was shot; the mixture of pictures and commentary contrive to make town in 1962 seem radically unfamiliar. The opening photographs of Orly and its stark linear structure provide a coldly futuristic panorama, as air journey nonetheless had a cachet of hypermodernity within the early sixties. But over these tableaux, the narrative describes a reminiscence of the distant previous.

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