Agnès Varda – Les Glaneurs et la glaneuse AKA The Gleaners and I (2000)

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29f7c043f76a2bde437fd0d52a185152 Agnès Varda   Les Glaneurs et la glaneuse AKA The Gleaners and I (2000)

The film is more than a documentary — it’s a kind of personal essay on celluloid by French New Wave filmmaker Agnes Varda, director of “Le Bonheur” and “Sans Toit Ni Loi”. She’s inspired by several old paintings that depict women picking up grain from the fields, and goes on to look for this traditional practice in all of its modern forms, observing some fascinating things along the way. One of the most interesting things is the way different people look at the same phenomenon differently, depending on their relationship to it. A supermarket manager explains how certain food must be removed from the store at a certain point, whether it’s still edible or not; it’s a matter of law and public health as well as good business. From the scavenger’s point of view, the manager is crazy — in fact, so is the entire way of life he represents. People throw away plenty of good food every day, and it’s almost a crime not to pick it up out of the trash and eat it. Yum yum.
The film’s funniest moment turns on exactly this kind of difference in perspective. An artist, who bikes through the region looking for found objects to use in his creations, shows Varda how he finds his materials.
“Some of the towns are thoughtful enough to publish a map like this, showing the areas and times where objects will be available on the streets,” he says, holding up just such a map.
“But isn’t that actually a map of dates for people to put out their trash?” Varda notes. “Oh, yeah, right,” says the artist, as if he’s never considered that the system wasn’t set up simply for his benefit. Trash and treasure, clearly, are in the eyes of the beholder.. Continue reading

Agnès Varda – La Pointe courte [+Extras] (1956)

419box348x490 Agnès Varda   La Pointe courte [+Extras] (1956)

29f7c043f76a2bde437fd0d52a185152 Agnès Varda   La Pointe courte [+Extras] (1956)

The great Agnes Varda’s film career began with this graceful, penetrating study of a marriage on the rocks, set against the backdrop of a small Mediterranean fishing village. Both a stylized depiction of the complicated relationship between a married couple (played by Silvia Monfort and Philippe Noiret) and a documentary-like look at the daily struggles of the locals, Varda’s discursive, gorgeously filmed debut was radical enough to later be considered one of the progenitors of the coming French new wave. Continue reading

Agnès Varda – Le Bonheur [+Extras] (1965)

420box348x490 Agnès Varda   Le Bonheur [+Extras] (1965)

29f7c043f76a2bde437fd0d52a185152 Agnès Varda   Le Bonheur [+Extras] (1965)

Though married to the good-natured, beautiful Thérèse (Claire Drouot), young husband and father François (Jean-Claude Drouot) finds himself falling unquestioningly into an affair with an attractive postal worker. One of Agnès Varda’s most provocative films, Le bonheur examines, with a deceptively cheery palette and the spirited strains of Mozart, the ideas of fidelity and happiness in a modern, self-centered world. Continue reading

Agnès Varda – Cléo de 5 à 7 (1962)

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29f7c043f76a2bde437fd0d52a185152 Agnès Varda   Cléo de 5 à 7 (1962)

Peter Bradshaw, wrote:
The rerelease of Agnès Varda’s 1961 classic underscores its claim to be a pioneering glory of the new wave. Corinne Marchand is Cléo, a beautiful singer and glamorous young woman-about-town; in a kind of real time, we follow her eventful Paris whirl from 5 to 7 one evening. Traditionally, that’s the moment for married men to meet their mistresses, but here it’s the time Cléo must wait for the results of cancer tests, uneasily keeping an ear open for news of Edith Piaf’s recent illness. Cléo befriends a young soldier (Antoine Bourseiller) about to ship out to Algeria – does he face his own death sentence? – and when they together hear the results of Cléo’s tests, it is an extraordinary, ambiguous moment. The Parisian streetscapes are beautiful and thrilling, and the tarot scene at the beginning, combined with overheard fragments of anxious city lives, give this something of TS Eliot. A farcically comic film-within-a-film sequence shows Jean-Luc Godard in larky cameo, not so very different from the wacky, childlike quality of his own early works. Continue reading

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