Chris Marker

Wexner Center for the Arts

Some purists rue the monkeys in Terry Gilliam’s new film, but none of them complain about seeing Chris Marker’s name again in theaters (Twelve Monkeys having been inspired by La Jetée). Marker, with Godard, one of the grand old men of revolutionary film in France, has been missed. Missing the slash La Jetée, 1962, froze in the mind, staying close, mesmerized—by Sans Soleil, 1982, wondering what he was doing, for such a man does not completely leave or go idle, even at night. Not knowing that Marker has in recent years been using video on his travels. He returns, as always, with even more existential surprise in his arms.

This time, he might have titled it Happiness.

It is called, more prosaically, Silent Movie, 1994–95, an installation commissioned by the Wexner Center, and is currently touring American museums. It is and is not a movie: at its core five monitors are stacked one on top of

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