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Agnès Varda (French: [aɲɛs vaʁda] ⓘ; born Arlette Varda; 30 May 1928 – 29 March 2019) was a Belgian-born French film director, screenwriter and photographer. [1]Varda's work employed location shooting in an era when the limitations of sound technology made it easier and more common to film indoors, with constructed sets and painted backdrops of landscapes, rather than outdoors, on ...
Mar 29, 2019 · O Saisons, O Chateaux (1957) was about the castles of the Loire valley; L’Opéra Mouffe (1958) was a lyrical evocation of the Parisian street-market in Rue Mouffetard as seen through the eyes of a pregnant woman (Varda was pregnant at the time); and Du Côté de la Côte (1958) was a fresh and irreverent approach to the French Riviera.
Oct 8, 2024 · Varda was born in Brussels in May 1928—her parents named her Arlette, because she had been conceived in Arles. When the Nazis invaded Belgium in 1940, the family fled to France and settled in the Mediterranean port town of Sète, where Arlette loved the color, the light and the arduous labor of a fishing community.
Agnès Varda obituary: a luminous art of an illuminated life. An unstoppably playful radical, Agnès Varda channelled a war-swept childhood into the determination to cherish and honour the personal, the marginal and the vital. Arlette Varda, 30 May 1928–29 March 2019. In the Saint Charles Chapel of the Papal Palace in Avignon, a woman with a ...
- La Pointe Courte
- Cléo from 5 to 7
- Lions Love
- Daguerréotypes
- Documenteur: An Emotion Picture
- Sans Toi Ni Loi
- Jane B. Par Agnès v.
- Jacquot de Nantes
- The Gleaners and I
- The Beaches of Agnès
Varda’s debut film, a black-and-white drama of an unhappy couple, stylistically unlike her later work, owes more to Italian neo-realism than French cinema. Though she went on to be hailed as the “grandmother” of the nouvelle vague, her sensibilities were closer to the experimental Left Bank filmmakers Alain Resnais (who edited the film), Alain Robb...
Varda’s second feature had the financial backing of Georges de Beauregard, producer of Godard’s Breathless (1960) and Jacques Demy’s Lola(1961). Demy, whom Varda would marry in 1962, suggested her to the producer, who was looking for arthouse filmmakers. The film, shot on location and presented in real time, lets us in on ninety minutes in the life...
For hardcore Vardaphiles, Lions Love (…and Lies) is so off-the-wall that it’s necessary viewing. Varda had moved to Los Angeles to join Demy, who was making Model Shop (1969) for Columbia Pictures, and met with the studio about a project, Peace and Love. The studio refused to allow final cut, the film was never made, and Varda, unfettered, went her...
Back in Paris, now with a young son, Varda didn’t want to leave him to work, so she decided to make a film on her street, rue Daguerre. Using her own electricity, she shot only as far as her power cord would reach. The result is a poignant portrait of a community of shopkeepers, and set the style for subsequent documentaries: intimate, relying on c...
For much of the ’80s, Varda and Demy were separated (although he lived across the street), and Documenteur, the most poetic of Varda’s films, explores the lonely existence of a single mother. The film, shot in California, stars Sabine Mamou (editor of Demy’s Une chambre en ville and Varda’s Mur murs) as Varda’s alter ego, with Varda and Demy’s eigh...
Arguably her masterpiece of fiction, awarded the prestigious Golden Lion at the Venice Film Festival, Sans toit ni loi (“without shelter nor law”) recounts the death of Mona, a young female drifter played by seventeen-year-old Sandrine Bonnaire. Inspired by reports of the “new poor” and an encounter with a female hitchhiker, Varda infused the film ...
Early on in Jane B. par Agnès V., the director questions iconic model, actor, and singer Jane Birkin’s reluctance to look into the lens of the camera. “It’s too personal,” says Birkin. “It could be a trap.” Varda insists, and casts Birkin, the collaborator and wife of the notorious singer Serge Gainsbourg, as the artist’s muse, recreating famous pa...
A poignant love letter to Demy in the last year of his life, Jacquot de Nantes dramatizes his childhood memories with documentary interludes of the dying artist. Demy was too ill to make the film himself, so Varda quickly gathered a small crew and shot a drama hybrid. His intimate circle knew he was dying of AIDS but he chose not to speak about it....
Originally conceived as a four-part TV series (turned down by the prestigious broadcaster Arté), then as a fifty-two-minute documentary, The Gleaners and I evolved into a feature-length road movie. A humanistic treatise on the homeless, Varda sought out the destitute that rely on the residual pickings of farm fields or outdoor markets for survival ...
“While I live, I remember,” says Varda, in this, her most autobiographical film. As much about memory as its constructs, the director reminds us she is “playing the role of a little old lady, pleasantly plump and talkative, telling her life story.” Nevertheless, Varda is at her most vulnerable here, recalling the pain of Demy’s death, repeating a s...
Agnès Varda was also a professor of film and documentaries at The European Graduate School / EGS. She was born on May 30, 1928, in Ixelles, Belgium, with the slightly different name of Arlette Varda. Her father is Greek, and her mother is of French origins. She escaped from Belgium in 1940 to go live in Sète, France, with her family where she ...
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Jul 5, 2013 · In the sand, she writes the name “Arlette,” which is washed away by the waves as Varda, Agnès, begins to document her life: born in Arles, her parents named her Arlette; but at the age of 18, she changed her name to Agnès, which she had recorded in the registry of the town hall in Sète, where her mother and four siblings had moved to live on an anchored sailboat during the Occupation.
