Chris Marker’s work, Sans Soleil, combines documentary footage, personal letters, and philosophical musings into a unique cinematic experience. The film is presented as a collection of observations by a fictional cameraman, Sandor Krasna, whose thoughts are narrated by an unnamed female voice. Mostly set in Japan and Guinea-Bissau, the film explores the vagueness of memory, the passage of time, and the cultural nuances of perception across continents.

As a classic essay film, Sans Soleil undermines a conventional narrative. Its construction utilizes juxtaposition, association, and intellectual inquiry to create meaning. Markers' fragmented structure allows for an unrestricted interplay of images, sounds, and ideas that leaves room for interpretation. A clear characteristic of the film is its highly personal yet universally resonant voiceover, which acts as a stream of consciousness. Through the voice-over, themes of history, technology, and human interaction are explored. The film questions the act of seeing and remembering, blurring the lines between fiction and reality, the subjective and the objective. This, too, is a clear characteristic of classic essay films. Marker's innovative use of electronic image manipulation highlights how memory is personally constructed and understood rather than a fixed entity. Through its visuals and commentary, Sans Soleil invites viewers into a contemplative space, challenging them to reflect on their relationship with time and the complexities of the human condition.