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2084


Chris Marker
France, 1984
Production : Les Productions de la Lanterne

10'
French, English


Synopsis


"Le coup des lendemains qui chantent, on nous l’a tellement fait (…) Il est plutôt sain d’imaginer autre chose…". Imaginer autre chose, Chris Marker et les équipes audiovisuelles de la CFDT s’y sont essayés, en dix minutes, sur Antenne 2, le 29 mars 1984. À l’occasion du centième anniversaire de la loi Waldeck-Rousseau créant le syndicalisme moderne, ils tentent de prédire l’avenir. Trois scénarios : celle d’une crise économique qui se prolongerait, celle du totalitarisme, celle, enfin, de l’espoir en la culture et la tolérance.

Tënk's film review


Dans son livre de photos "Le Dépays" (1982), Marker écrivait : "Inventer le Japon est un moyen comme un autre de le connaître." Inventer le Japon, c’est déjà l’habiter. Inventer le futur, c’est déjà le préparer. Avec la fiction du temps 2084, Marker invente l’avenir. En 1984, il refuse de faire le documentaire historique qu’on lui commande, au profit d’un exposé spéculatif et hypothétique. Jeu d’Histoire : il préfère le risque de la réflexion ouverte au contentement de la célébration, pour finalement fêter le centenaire du point de vue du bicentenaire. Les catégories coutumières achoppent à propos de ce film qui se voudrait un documentaire sur l’avenir. Au fond, "2084" nous décrit assez bien où Marker situe la question de la fiction. Chez lui, elle est toujours "science-fiction" c’est-à-dire qu’elle est toujours une fiction du temps ("La Jetée", "L’Ambassade"). La fiction n’est pas la mise en scène d’une histoire, mais un effort proprement imaginaire, une projection mentale : retenir du futur.

Arnaud Lambert
Réalisateur

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filmmaker

Chris Marker

Chris Marker was born in 1921 in Neuilly, France. He began studying philosophy, which was soon interrupted by the world conflict. After the war, he worked for Peuple et Culture, began writing for the magazine "Esprit" and directed his first films, including "Lettre de Sibérie", which made him more widely known. Writer, photographer, filmmaker and finally multimedia artist, Chris Marker is the author of a protean and innovative work. His taste for experimentation bursts out in "La Jetée" (1962), a short film of anticipation announcing his favorite themes: time, memory, the power of images. The same year, he shoots "Le Joli Mai", in the streets of Paris, in the spirit of direct cinema. The seventies were marked by committed films, the most famous of which, "Le fond de l'air est rouge" (1977), was a review of the movements of the sixties all around the world. In this political furrow, he explored the links between individual memory and history in "Sans soleil" (1982) and then in posthumous tributes such as "Le Tombeau d'Alexandre" (1993). In the 1990s, most often in collaboration with the Centre Pompidou in Paris, he designed several installations that explored the boundaries between the real and the imaginary. He died in Paris in the summer of 2012, making him a reference point for contemporary filmmakers.

Other films in the collection: Chris Marker