While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, ... See full summary »
The intertwined lives of 2 women in 1970's France, set against the progress of the women's movement in which Agnes Varda was involved. Pomme and Suzanne meet when Pomme helps Suzanne obtain... See full summary »
There are two parts to this film: sequences of life in the fishing village of La Pointe Courte (a government inspector's visit, the death of a child) alternate with others following a ... See full summary »
Mary-Jane asks, "Do all women fall in love with a boy, or just those without sons?" She's divorced with two daughters, Lucy and Loulou. Lucy has a party where Mary-Jane notices Julien, 14, ... See full summary »
Francois is a young carpenter married with Therese. They have two little children. All goes well, life is beautiful, the sun shines and the birds sing. One day, Francois meets Emilie, they ... See full summary »
A young mute woman, living in a small village, is expecting a baby. Her husband is at the same time writing a novel and using the villagers as his characters. In the creative process, reality and imagination are constantly intertwined.
Jacquot Demy is a little boy at the end of the thirties. His father owns a garage and his mother is a hairdresser. The whole family lives happily and likes to sing and to go to the movies. ... See full summary »
Varda continues to travel with just a camera, content to film with no larger narrative in mind other than to approach things, here motherhood, breakup, loneliness. She's in LA here, I was initially keen for just that aspect; how would she see that place of dreams?
In a previous entry, Daguerrotypes, it was the senile old wife of a Parisian perfume maker that captured her the most, looking achingly lost in the small shop as she sat by the door, not fully there anymore, like time was blowing through her from an open window somewhere. What life here?
It's the same lostness she returns to. A mother alone with her son in LA, after breaking up with the father, wanders and ruminates. What it says about Varda's marriage to Demy is a guess, but it matters I think that she presents on screen a grieving woman alone with her son.
It's Varda's own son actually, the French woman a surrogate for Varda, a way for her to have a body in the stream of images.
We can glean more about the 'real' Varda in other ways, I'm more interested in perceptions and how they give rise to self. It's telling for me here that she gives to herself the role of a typist, typing and retyping pages before a beach, a favorite place for her. Varda could have plainly chosen to portray her as anything, she chose a job where words, expression, have been reduced to a mechanical task without meaning.
In the beginning she ruminates on the meaninglessness of words, how words and images lose meaning, faces look strange, when you're shut out from the life that gives everything its place. Meaning is use linguists would say. It's itself the attitude to find meaning I would add, how you place yourself in things.
It gives an overwhelming sense of melancholy in the end, which is how Varda places herself here, fecund absence, waiting without reproach. Her friend Chris Marker, it reminds of him in spirit, but he also finds bemusement in many small things. She's shut in her own self here, it was probably a time for it. It strikes a simple note. Oh but she's so adept with echo, I've carried it with me for two days now.
This is Varda staring out from that window that time blows through. I'm setting my eyes ahead to a time when she has left this room.
1 of 1 people found this review helpful.
Was this review helpful to you?