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 »
Documentary that chronicles how Francis Ford Coppola's Apocalypse Now was plagued by extraordinary script, shooting, budget, and casting problems--nearly destroying the life and career of the celebrated director.
Filmmaker Jonathan Caouette's documentary on growing up with his schizophrenic mother -- a mixture of snapshots, Super-8, answering machine messages, video diaries, early short films, and more -- culled from 19 years of his life.
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
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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