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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 ...
The figure in the landscape, seen in and as a welcoming light of openness, remained Varda’s invitation to the viewer across her oeuvre: often the figure of her own body, starting with her second film, Diary of a Pregnant Woman (1958). Beaches and Varda par Agnès were the culmination of a lifetime of making film with what was close at hand ...
Apr 1, 2019 · Varda died on Friday March 29 at the age of 90 from cancer in Paris, surrounded by friends and family. Hailed as the grandmother of the French New Wave, she was an active director until very recently with her final adieu, Varda by Agnès, premiering at the Berlin film festival just a few months ago. Over the last couple of years, her radical ...
Arlette Varda was born in Brussels on May 30, 1928, to a Greek father and a French mother. Her family fled to Sete during World War II, and she changed her first name to Agnès at 18. In 1962, she married director Jacques Demy (“The Umbrellas of Cherbourg”), with whom she had a son. Earlier, she had a daughter with actor Antoine Bourseiller ...
- 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...
Mar 29, 2019 · Agnès Varda: 1928-2019. Few world cinema figures were as beloved in recent years as Agnès Varda, a Belgian-born director of French cinema who brought an irresistibly restrained sort of wacky charm to all of her public appearances and her appearances in front of the camera in so many of her documentaries. She made only eight or so narrative ...
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Mar 29, 2019 · Arlette Varda was born in Brussels, Belgium on May 30, 1928 to a French mother and Greek father. Varda, who later changed her name to Agnes, started as a photographer after studying literature and arts. In 1951, she was appointed official photographer of the Theatre National Populaire, and remained in that position for the next decade.
