Le Joli Mae

“The restoration of Marker’s legendary portrait of Paris in May 1962 premiered at this year’s Cannes Film Festival, exactly half a century after the original won the International Critics Prize there. Meticulously restored by the film’s cinematographer and co-director, Pierre Lhomme, LE JOLI MAI emerges as one of the director’s most poignant and important works. Characteristically witty and generous, Marker’s epic ‘direct cinema’ inquiry into the possibility of happiness during France’s first springtime of peace in many years (following the recently signed ceasefire that marked the end of the Algerian War) is structured in two parts. ‘A Prayer from the Eiffel Tower’ orchestrates a heady polyphony of Parisians—a nervous clothing salesman who is happy only in his car or when his till is full, a besotted couple that know they are unique in their bliss—offering acerbic and sometimes hilarious observations on the state of the nation and often dodging the obvious. ‘The Return of Fantômas’ broadens the film’s scope to examine the social and political history of Paris, including recent street demonstrations, racial tensions, and—the future always contiguous with the past in Marker’s cinema—technological revolution. ‘Is this the most beautiful city in the world?’ Marker muses. ‘One would like to see it for the first time.’ In its philosophical and poetic profusion, LE JOLI MAI allows us that virginal vantage.”—TIFF Cinematheque.

Genres: Documentary

Other Films by Chris Marker

Level Five

French film essayist Chris Marker (La Jetee, A Grin Without A Cat, Le Joli Mai) singular place in cinema is distinguished by a constant probing of how he, and we, come to experience time, memory, history and cinema itself. Unreleased in the United States until now, Marker’s film presciently uses cyber-space to explore a chapter

A.K.

Marker’s (La Jetee, Sans Soleil) hyper-observational style is on full display in A.K. as he skirts around Akira Kurosawa’s legendary, massively scaled production of Ran (1985), focusing on the master’s previous classics and the day-to-day making of his new film, which at the time was the most expensive Japanese film ever made. French producer Serge