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Alexandra Stewart

Photograph of Alexandra Stewart taken by Chris Marker circa 1964 during the shooting of Pierre Kast’s La Brûlure de mille soleils (The Burning of a Thousand Suns), 1965, as it appeared in Ouvroir, Marker’s virtual exhibition space, Second Life, 2008–12.

ALEXANDRA STEWART

FRIENDS OF CHRIS MARKER’S AND MINE have said, “Oh, you’re not supposed to say a word about Chris. He’d be furious.” But he’s not here, the poor lamb. I don’t know what I could reveal—other than exactly how I feel.

I’m from Montreal, originally, and from the age of eight I was sent to a boarding school at the Vermont-Canadian border, way off in the country. Finally, I said to my parents, “I’m not staying another minute unless you promise me I can go to Paris when I get out of here.” I got to go to Paris.

You didn’t see movies in Quebec until you were eighteen, so when I was living in my little maid’s room in Saint-Germain-des-Prés, I went to the movies constantly, and I happened to see Letter from Siberia [1957], one of Chris’s first documentaries. Thanks to the cinematographer Ghislain Cloquet—who later worked with Bresson and won an Academy Award for

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