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The Gleaners & I (2000)
"Les glaneurs et la glaneuse" (original title)

7.6
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Ratings: 7.6/10 from 2,826 users   Metascore: 83/100
Reviews: 31 user | 47 critic | 20 from Metacritic.com

An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. The aesthetic, political and moral ... See full summary »

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Title: The Gleaners & I (2000)

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Cast

Credited cast:
Bodan Litnanski ...
Himself
...
Herself
François Wertheimer ...
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Storyline

An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. The aesthetic, political and moral point of departure for Varda are gleaners, those individuals who pick at already-reaped fields for the odd potato, the leftover turnip. Written by Anonymous

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Documentary

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Release Date:

7 July 2000 (France)  »

Also Known As:

Die Sammler und die Sammlerin  »

Box Office

Opening Weekend:

$12,655 (USA) (9 March 2001)

Gross:

$149,834 (USA) (13 July 2001)
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Company Credits

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Aspect Ratio:

1.33 : 1
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Did You Know?

Connections

Referenced in The Gleaners and I: Two Years Later (2002) See more »

Soundtracks

Apfelsextett
Composed by Pierre Barbaud
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User Reviews

The Gleaners and I
21 October 2010 | by (United States) – See all my reviews

The Gleaners and I is odd in that it hardly feels like a proper film at all: it's shot on visibly cheap MiniDV, its editing is consistently unpolished, and it delights in crossing the line from personal to indulgent in excess. It's obvious that these are all deliberate choices; the question is, would we care if it didn't have the name Agnès Varda on it?

Ultimately, the film's amateurish style is somewhat deceptive: Varda demonstrates her talent for finding significance in the mundane, and strikes a number of compelling parallels in her examination of scavenger culture. The film does tend to coast on Varda's legendary new wave status at times, particularly as we linger on interviews and segments only tenuously related to the film's subject, but it's interesting as an example of a living legend embracing her medium's democratization: for all the good and bad it implies, she blends in seamlessly with the millions of talented people who own camcorders. -TK 10/21/10


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