A founding member of the French New Wave, filmmaker/media artist Chris Marker is best known for his La Jetée (1962), a post-apocalyptic allegory composed almost entirely of still photographic images. Made two decades later, the feature-length Sans Soleil remains Marker’s masterpiece. Ostensibly constructed from a series of letters sent by a freelance cameraman to an unknown woman, the film presents portraits of distant locales captured in ravishing imagery and through the poetic letters of the unseen cameraman. Remarkable for its prescient incorporation of video processing, Sans Soleil equally prefigures contemporary work in the fictionalized documentary as Marker pushes beyond the boundaries of the traditional narrative cinema to invent a singularly personal film genre—part diary, part essay, part documentary, and part fiction. As Chris Marker notes, ". . . out of these juxtaposed memories is born a fictional memory, and in the same way as Lucy puts up a sign to indicate that ‘the Doctor is in,’ we’d like to preface this film with a placard: ‘Fiction is out’—somewhere."