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 ...
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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 »
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 »
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
I saw this movie again last night (at the Harvard Film Archive) as they are having a retrospective with Agnes introducing and doing Q&A after the films. I've got to say that I love many of Agnes' films (and Jacques Demy's, her late husband, as well), but this is my favorite. So, I like the "I" part of the "Gleaners and I" even though she said that she didn't like the English-language title (the French title doesn't include the "I" in the title). I do a little "gleaning" here and there, not that I need to, but I think in this current crazy world gleaning is an important topic. I'm going to rent the DVD again as I want to see the "two years later" piece again. The audience at Harvard loved Agnes, why is it wrong for her to have a voice? Her most recent film is a "film essay" of all the people she met during her long life: the guy behind me complained about it being "too much about" her even though it was a memoir! Making any documentary involves making many choices, picking the "sound bites" that express the documentarian's points, why should the documentary "hide" the inherent subjectivity? Her perennial interests have to do with subjectivity/objectivity, real vs subjective time, film as a "cimema essay" and so on. There is a lot in this movie that is both important and interesting.
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