In discovering Chris Marker's Sans Soleil I found a titillation of buried memories, a "Vertigo" of past and future, and a rearrangement of geography itself. This was 1986. I was new to San Francisco and to filmmaking and wrote Marker with my thoughts about his work. A year later we were able to meet for coffee in North Beach. He talked about what it means to live inside a film, to rub one history up against another, to wrench time and memory from a static and linear perception. (Lynne Sachs) As Steve Jenkins wrote: "What is at stake here is not just images and what might link them, but also the spaces between, the black leader which separates one image (happiness, three children on a road) from another (an aircraft carrier). If the spectator does not see the happiness...at least (she) will see the black....The act of linking, of structuring, becomes not only the film's subject, but also the task-a totally invigorating one-of the spectator." (Monthly Film Bulletin)