"The documentary is inspired by the unpredictable events of recent times – from the rise of Donald Trump to Brexit, the war in Syria, the endless migrant crisis, and random bomb attacks. It seeks to explain both why these chaotic events are happening, and why we and our leaders can't understand them. Curtis's theory is that Westerners - politicians, journalists, experts and members of the public alike - have retreated into a simplified, and often completely fake version of the world. But because it is all-encompassing, we accept it as normal.
HyperNormalisation explores this hollow world by looking back at 40 years of events, and profiling a diverse cast of characters such as: the Assad dynasty, Donald Trump, Henry Kissinger, Patti Smith, the early performance artists in New York, President Putin, intelligent machines, Japanese gangsters and suicide bombers."
(Holly Barrett, 22nd September 2016, Royal Television Society)
"Deleuze's notion of time–image cinema describes a revolutionary and political cinema. To understand time–image cinema, we must contrast it with movement–image cinema, 'in which frame follows frame according to necessities of action, subordinating time to movement.'1 Clearly, Sans Soleil is nothing like movement–image cinema. The film has no action or plot that could subordinate time; instead, Marker claims that the only qualification these images have for being included in the film is that they quicken the heart. These images span many different time periods from World War II to the present, and a scene is just as likely to cut to West Africa or San Francisco as it is to cut to a different angle within the same room. In the film, an unnamed and unseen narrator reads the fictitious letters of Sandor Krasna, a traveling cameraman (a thinly–veiled alter–ego for Marker)."