A woman returning home falls asleep and has vivid dreams that may or may not be happening in reality. Through repetitive images and complete mismatching of the objective view of time and space, her dark inner desires play out on-screen.
Time travel, still images, past, present and future and the aftermath of World War III. The tale of a man, a slave, sent back and forth, in and out of time, to find a solution to the world's fate, to replenish its decreasing stocks of food, medicine and energies, and in doing so, resulting in a perpetual memory of a lone female, life, death and past events that are recreated on an airport jetty.Written by
The style of the still image of the four people from the future bears a striking resemblance to the later portrait of The Beatles taken by photographer Robert Freeman that would be used as the album cover on "With the Beatles" (released 22 November 1963 in the UK) and "Meet the Beatles" (released 20 January 1964 in the USA.) See more »
This is the story of a man marked by an image of his childhood. The violent scene which upset him, and whose meaning he was to grasp only years later, happened on the main pier at Orly, Paris Airport, sometime before the outbreak of World War Three.
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The opening credits do not describe it as a film, but "un photo-roman." See more »
I note that most of the comments I've seen have been written by people who saw 12 Monkeys first and then chose somehow to see La Jetee.
Comparisons are useless beyond the basic feel of the story.
When I first saw 12 Monkeys I didn't know its relationship to La Jetee, a film I had not seen in 25 years. Yet, I recognized this relationship almost immediately, even though I could not remember the name of the movie. This I realized through the feel of the story ... down to the very end.
In many ways the short film was much more stimulating ... even though I had forgotten the name of the film I had never forgotten the images or the impressions it made upon me. I guess that's strange, but as I recall I saw it at Rice University as a part of a film festival back in the 60s.
Granted, films must sustain themselves somewhat through the years to maintain their value as true art, but one must always remember the context of the film's original audience.
I wonder now if the dependence on stills to portray the story had any influence on Ken Burns? Heh ... he's made a reputation on the same technique.
My point ... accept both movies on their own merits.
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