1977 Hebrew AGNES VARDA Israel FRENCH FILM Movie POSTER Musical FEMINIST Jewish

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Seller: judaica-bookstore ✉️ (2,805) 100%, Location: TEL AVIV, IL, Ships to: WORLDWIDE, Item: 276276528909 1977 Hebrew AGNES VARDA Israel FRENCH FILM Movie POSTER Musical FEMINIST Jewish.

DESCRIPTION :   Up for auction is a RARE , 45 years old original 1977  Hebrew-Israeli ADVERTISING THEATRE POSTER for  AGNES VARDA   French FEMINIST musical  film " L'UNE CHANTE L'AUTRE PAS" ( ONE SINGS THE OTHER DOESN'T ) . ORIGINAL  beautifuly  illustrated   colorful   ISRAELI Theatre POSTER .    The theatre  poster depicts an  impressive   IMAGE from the  legendary  French VARDA feminist  musical  movie . The poster was issued in 1977  by the Israeli distributers of the film for its  ISRAELI PREMIERE   RELEASE   .  Kindly note : This is an ISRAELI MADE poster   Which  was designed ,   Printed and distributed  only in  Israel   ( Not an adapted   foreign poster ).   Size around 27" x 19" .  The   theatre poster is in a very  good   used condition.  Folded twice.   ( Please watch the scan for a reliable AS IS scan ) .   Poster will be sent   rolled in a special protective rigid sealed tube.

AUTHENTICITY : This poster is an ORIGINAL vintage 1977 theatre poster , NOT a reproduction or a reprint  , It holds a life   long                                                GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : Payment method accepted : Paypal & All credit cards . SHIPPMENT : Shipp worldwide via registered airmail is $ 25  . Poster will be sent rolled in a special protective rigid sealed tube.                                                                        Handling around 5-10 days after payment. 

One Sings, the Other Doesn't (French: L'une chante, l'autre pas) is a 1977 French film written and directed by Agnès Varda that focuses on the lives of two women over the span of fourteen years against the backdrop of the Women's Movement in 1970s France. Contents 1 Plot 2 Cast 3 Production 4 Critical reception 5 References 6 External links Plot[edit] In 1962 Paris, Pauline (Valérie Mairesse), a 17-year-old schoolgirl studying for her baccalaureate, wanders into a gallery because she recognizes her old friend Suzanne (Thérèse Liotard) in one of the photographs displayed. Pauline learns the photographer is Suzanne’s partner, though they are not married. Pauline reconnects with the 22-year-old Suzanne, who now has two children with the photographer and is currently expecting a third. When Suzanne tells Pauline she cannot afford to have a third child, Pauline helps secure the money for an illegal abortion[1] for Suzanne. To get the money, Pauline lies to her parents about a school trip; when they find out what the money was used for, she leaves home, drops out of school, and begins working as a singer. The photographer commits suicide and, after this tragedy, Suzanne moves back to her parents’ farm, where she is looked down on for having illegitimate children. Ten years pass before the two women are reunited again at a 1972 demonstration in Bobigny for abortion rights. Pauline, now known as Pomme (French: Apple), sings in a feminist folk group and lives with her partner Darius, a grad student she met in Amsterdam when she was herself getting an abortion. Suzanne has managed to leave her parents’ farm by teaching herself typing, and has opened a family planning clinic in Hyères. Although the two women have to part ways once more, they keep in touch by sending each other postcards. Pauline later moves to Darius’ native Iran, where they marry and Pauline becomes pregnant. When she and Darius’ relationship becomes strained, Pomme leaves Darius and returns to France, where she has the baby in Suzanne’s clinic. She lets Darius return to Iran with their infant son on the condition that he provides another child for her. A pregnant Pomme is able to go back on the road as a singer. Suzanne, after an unfulfilling relationship with a sailor, eventually marries a local doctor. The last section of the film is followed by a brief epilogue in which Pomme and Suzanne, their families, and their friends have a reunion by the sea. Cast[edit] Valérie Mairesse as Pomme (Pauline) Thérèse Liotard as Suzanne Robert Dadiès as Jérôme Ali Rafie as Darius Jean-Pierre Pellegrin as Docteur Pierre Aubanel Production[edit] Production for the film took place in 1976.[2] As Pomme and Suzanne exchange letters and postcards, their words are read by the actresses in voice-over. Varda also appears as a narrator, mediating between the two women’s stories.[3] The protest where Pomme and Suzanne reconnect was a recreation of a real demonstration in France at the trial of a woman who had had an abortion after being raped.[4] For the demonstration scene, Varda had nonactors playing demonstrators and the legendary human-rights lawyer Gisèle Halimi (who was the [case’s] defense attorney) at one point breaking through a police line to take some demonstrators into the courthouse. In the crowd, women carry banners in support of “the 343,” the prominent women—including Varda—who had signed a manifesto testifying that they had had illegal abortions, which was printed in 1971 in the influential left-of-center weekly Le nouvel observateur.[2] Though not considered a musical, One Sings, the Other Doesn’t contains a few theatrical set pieces and musical numbers, which Varda wrote the lyrics for.[2][3] In the film’s ending scene, Suzanne’s teenaged daughter is played by Varda’s real-life daughter, Rosalie Varda-Demy. Critical reception[edit] Based on 17 reviews, the film holds a rating of 82% on review aggregator site Rotten Tomatoes.[5] In a contemporary essay for The Criterion Collection, Amy Taubin wrote that the strength of the film is “that it embraces maternity while insisting that women must have the right to decide when or if to bear children”.[2] Roger Ebert, awarded the film four out of four stars and praised the film for its simplicity, its portrayal of the leading female characters' friendship and Varda's direction: Varda’s title is a perfect one (and even more melodic in French: “L’une chante, l’autre pas”). Here we have them, she says: Two women, friends, and one sings and the other doesn’t, but they’ll remain friends and sisters for all of their lives. The movie’s final passages are among the best. Pomme comes with her child and friends to spend some time on the farm, and so several generations are brought together as the two friends approach the middles of their lives. There’s a picnic, and kids playing, and wine, and singing (but of too many songs), and what Varda’s doing, in a sneaky way, is making her case for feminism in a lyric voice instead of a preachy one.[6] Justin Chang, in a glowing review wrote: To describe Varda’s picture as an ardent tribute to the never-not-timely subjects of women’s liberation and solidarity is to risk making it sound awfully schematic. But if “One Sings, the Other Doesn’t” is something of a thesis movie, that thesis takes shape gently, with equal parts documentary grit and dreamlike evanescence.[7] *******  One Sings, the Other Doesn’t: Bodies and Selves By Amy Taubin ESSAYS — MAY 28, 2019 SHARE I t has taken me forty years to appreciate the audacity of Agnès Varda in writing and directing One Sings, the Other Doesn’t (1977). Not only did Varda make her subject the most crucial and vexed issue of the feminist movement, at that time as it is today—a woman’s right to control her body, specifically her reproductive system—she also fashioned a narrative that is as rife with contradictions and reversals as freedom struggles always are.  One Sings, the Other Doesn’t recounts, with guarded optimism, fourteen years of the women’s liberation movement through the story of a long friendship, often conducted via postcards, between two women, Pauline, a.k.a. Pomme (Valérie Mairesse), and Suzanne (Thérèse Liotard). While it is not an autobiographical film, Varda was certainly a participant in the coming to feminist consciousness in France that it evokes with considerable humor and a necessary dose of pathos. Born in Belgium in 1928, she grew up in the small French town of Sète, on the western edge of the Mediterranean coast. She studied art and philosophy in Paris, and in her early twenties became the stills photographer for Jean Vilar’s Théâtre national populaire (TNP), the leftist answer to the Comédie-Française. In 1954—for reasons she has always maintained were unclear to her except that she wanted to capture people’s voices and still photography couldn’t do that—she wrote and directed a feature film, La Pointe Courte, produced by her own company, Ciné-Tamaris, with which she has made all the subsequent features and short films of her sixty-five-year, enormously prolific career.  Independent feature filmmaking was unheard-of at the time in France, where most movies were produced by large companies or the two television channels. Aspiring directors, after graduating from film school, had to spend years as assistants to directors, producers, and editors before they were allowed to helm a movie on their own. At the time Varda was making La Pointe Courte, there were no other French female directors. Alice Guy-Blaché, who was a contemporary of Georges Méliès and the Lumière brothers and made more than a thousand films by 1920, had been written out of film history; the early feminist director, theorist, and critic Germaine Dulac’s filmmaking had ended by World War II. The male directors who would become the creators of the French New Wave were just beginning to make short films. Varda was friends with one of them, Alain Resnais, and he agreed to edit La Pointe Courte. She recruited two stars of the TNP to play a couple whose relationship nearly comes apart because the man wants them to stay in Sète while the woman wants them to go back to Paris—their conflict anticipating that of Pomme and Darius in One Sings, the Other Doesn’t.  Like the rest of the New Wave directors, Varda was influenced by the critic and theoretician André Bazin, who proposed that fiction films allow us to understand history—that the greatest of them are documents of the moment in which they are made, and that is the basis of their moral value as well. Varda, along with Jean-Luc Godard, radicalized Bazin’s position by openly mixing documentary and fictional elements, from the beginning of her career. The story of the couple from the city makes up only half of La Pointe Courte; the other half is a documentary-like portrait of the fishermen of the village, their families, and their struggle against government regulations that threaten their livelihood. In the seven years between La Pointe Courte and her second feature, Cléo from 5 to 7 (1962), Varda made several short films, including L’opéra Mouffe (1958), which she shot while she was pregnant with her daughter, Rosalie Varda. She has described L’opéra Mouffe as an autobiographical documentary, a projection of her own physical and psychological condition onto women she saw in the street. Combining documentary and fantasy images, it may be the first film by a woman to focus subjectively on women’s bodies. Similarly, Cléo from 5 to 7, which resembles many films by male New Wave directors in that its central character is a beautiful young woman, is unique in its depiction of its heroine as she awaits the result of a test for cancer. New Wave heroines were hardly immortal; they were often shot dead or killed in car crashes. But only Varda could read a series of newspaper articles in 1961 about women and cancer and understand that a movie about that issue and the terror around it would be as revolutionary for its subject matter as for the play of real time against subjective time hinted at in its title. And the fact that, for nearly sixty years, the critical response to Cléo has been to canonize it for its experiment in cinematic time while ignoring the story it tells confirms the need for the critique of patriarchy that the film provokes. In One Sings, the Other Doesn’t, the largely linear fictional narrative is grounded in the real-life events of the gradual transformation of French society brought about by second-wave feminism, and it often opens out into sequences that include nonactors. There are scenes in an abortion clinic, a family-planning clinic, town squares in France and Iran, outside a courthouse where a trial is taking place that will determine the legalization of abortion in France. Varda shoots these scenes as if she were making a documentary, with as much attention to the women waiting in the clinic, demonstrating outside the courthouse, or listening to Orchidée (an actual feminist folk group) as to her central characters.  Sometimes, the documentary elements are combined with theatrical set pieces. Pauline, a singer, goes on tour for years with Orchidée, and we see several performances by the group, but One Sings, the Other Doesn’t isn’t, strictly speaking, a musical. Rather, the musical numbers are a way for Pauline and her female bandmates to express and disseminate their political messages. The lyrics are all by Varda herself, and they don’t easily translate into English. “Neither pop nor pope / My body belongs to me,” sings Pauline, leaping onto a ledge outside the Bobigny courthouse, where a case involving a mother who arranged an abortion for her sixteen-year-old daughter is being decided. In terms of filmmaking, it is one of the film’s most complex sequences. The actual Bobigny trial took place in 1972, three years before Varda’s film went into production, so the scene is a re-creation, with nonactors playing demonstrators and the legendary human-rights lawyer Gisèle Halimi (who was the mother’s defense attorney) at one point breaking through a police line to take some demonstrators into the courthouse. In the crowd, women carry banners in support of “the 343,” the prominent women—including Varda—who had signed a manifesto testifying that they had had illegal abortions, which was printed in 1971 in the influential left-of-center weekly Le nouvel observateur. BUY NOW One Sings, the Other Doesn’t Agnès Varda “Varda favors a mélange of blues, sea greens, and salmons.” 1 / 3 2 / 3 3 / 3 While Varda works in a realistic mode, her mise-en-scène is always expressive of the basic conflicts and inner worlds of her characters. When we first meet Pauline, she is a teenager living with her parents. Like many middle-class Paris apartments, theirs is small, crowded with furniture, photographs, and bric-a-brac, all carefully placed. Pauline’s style is confrontational. She overwhelms not just her parents but also the space they live in with her gestures, her words, her excess of physical energy. Much later in the film, Suzanne arrives in Hyères, on the Côte d’Azur, in a blast of sunlight. Colors spill over in almost every scene, at once vibrant and soft. Godard’s primaries—blue, red, yellow—have no place here. Varda favors a mélange of blues, sea greens, and salmons. The women in the film may go through tough times, but they always look like flowers or luscious fruit. Excepting that they are both French, Caucasian, and heterosexual, Pauline and Suzanne could not be less alike, although they are bound together by the dawning realization of their oppression, and their embrace of a movement larger than themselves. Pauline is impulsive, outspoken, and theatrical in her self-presentation. Suzanne is undemonstrative and thoughtful, and she has difficulty acting on her desires. When they first encounter each other, Pauline is about to graduate from high school and Suzanne, in her midtwenties, is living with Jérôme (Robert Dadiès), a married, decidedly noncommercial photographer. They already have two young children, and Suzanne is pregnant with a third. Pauline scams money from her parents so that Suzanne can go to Switzerland to get a safe (although still illegal) abortion in a clinic there, while Pauline cares for the children. But after Jérôme commits suicide, Suzanne has no choice but to return to the farm where she grew up, and where her parents punish her for her sins by treating her like slave labor. The crisis of Suzanne’s unwanted pregnancy will turn both her and Pauline into activists, but it also initiates a ten-year separation between them.  It is on the steps of the Bobigny courthouse in 1972 that Suzanne and Pauline meet again. Through fragmentary flashbacks, they catch each other up on their experiences of the past ten years: Suzanne has escaped the blighting cold of her parents’ farm by teaching herself typing and eventually opening a family-planning clinic in Hyères—no easy task in a country dominated by the Catholic church, where many women ask for the pill but fail to take it—where she continues to raise her two children alone. Although she would like to have a partner, the only man she is attracted to is a married pediatrician, and she has learned her lesson about married men. The more adventurous Pauline, who has renamed herself Pomme (with her halo of strawberry-blonde curls, round face, and compact body, she indeed evokes the image of an apple), has become a contemporary busker, taking her feminist performance group on the road. In Amsterdam, where she went for an abortion, she met Darius, an Iranian grad student, and she introduces him to Suzanne.  “The film embraces maternity while insisting that women must have the right to decide when or if to bear children.” Suzanne returns to her clinic and her children in the south; Pomme, frustrated in her work, goes to Iran with Darius, marries him, and gets pregnant. But when Darius forgets that he was ever a male feminist, Pomme leaves him and returns to France to have the baby in Suzanne’s clinic. Eventually, she lets Darius return to Iran with their infant son, on the condition that he get her pregnant again first. Suzanne marries the pediatrician, now divorced. Back on the road with her freedom songs, the very pregnant Pomme sings, “It’s beautiful to be a balloon,” only to be challenged by a woman in the audience who asks if her lyrics aren’t playing into the hands of the anti-abortion right. Pomme disagrees. This is a strength of One Sings, the Other Doesn’t: that it embraces maternity while insisting that women must have the right to decide when or if to bear children. Rich with life—a birth, a marriage, another birth, and the deepening of Pomme and Suzanne’s friendship—this last section of the film is followed by a brief epilogue in which Pomme and Suzanne, their families, and their friends have a reunion by the sea. The last image is of Suzanne’s daughter (played by Rosalie). She is eighteen, Pomme’s age at the beginning of the film. Looking at her when I first saw the film, in 1977, I remember thinking that she would not have to struggle as hard for equality as Pomme and Suzanne had. Today, I’m not so sure.  Back in Paris in 1962, One Sings, the Other Doesn’t opened on a nearly life-size black-and-white photograph of a woman draped in black so that one voluptuous breast is exposed, one of a series of images of women that Pauline catches sight of through the window of Jérôme’s atelier. She does not yet have a way to articulate her feminism, but she has an inchoate sense that there is something wrong with these photos, that what they show is not the souls of the women, as the photographer tells her, but rather the anger and depression of the man behind the lens, which he has projected onto his female subjects, and that rather than empathy, they are a form of abuse. Jérôme leads Pauline to Suzanne, but he also gives her the opportunity to explore her uneasy response to his work by asking her to pose for him. Unlike his other subjects, Pauline is no “sad-eyed lady of the lowlands,” to quote a Bob Dylan song not yet written, and her refusal to relinquish her sense of self in front of the camera makes the resulting photos a hilarious and resonant critique of all the others.  Varda has continued making both fiction and documentary films, along with films that mix the two. Beginning in 2000 with The Gleaners and I, she has toured France, interviewing people who, she explains, are not intimidated by a pleasingly plump old lady with a somewhat comical hairdo and a tiny home-video camera. She has never disguised her formidable intellect or her impeccable sense of film time and space. But the Varda of those late documentaries bears more than a passing resemblance to Pomme, who disarms her audience by coaxing them to laugh with her. And who other than Agnès Varda would have attended the opening of her moving-image installation at the 2003 Venice Biennale dressed as a potato—a pomme de terre? ***** One Sings, the Other Doesn't Roger Ebert March 16, 1978 Powered by JustWatch Suzanne lives with a photographer who isn’t much of a man. They aren’t married, but he’s fathered two of her children. Now she’s pregnant again, and there isn’t enough money for food as it is. Suzanne is 22. She makes a friend of Pauline, the 17-year-old around the corner who everyone calls “Pomme,” for “apple,” maybe because of her round cheeks. Pomme helps Suzanne find the money for an abortion, and stands by her as a friend during the ordeal. The two women draw closer as the photographer wraps his insecurity around himself. One day, returning to the studio, they find he has hanged himself. So now Suzanne is left with two children, no lover, and an uncertain future. So begins Agnes Varda’s “One Sings, the Other Doesn’t,” which, despite its grim beginnings, goes on to become one of the most appealing films by a French director whose best work has always found a balance between the heart and the mind. Varda works close to the human grain; she insists whenever possible on making documentaries between each of her feature films, so she can stay in touch with reality and not fall for the stylistic excesses of the big fiction films. That restraint isn’t always evident in “One Sings, the Other Doesn’t,” which contains about three or four songs too many for its subject matter to support. But I’m getting ahead of the story, which is simplicity itself: After her lover’s death, Suzanne goes with her children to live on her parents’ farm in the country, and Pomme… well, Pomme has adventures. She becomes a pop singer. She becomes a feminist, and forms a singing group dedicated to woman’s liberation. She falls in love with an Iranian student, who seems one sort of person in France and quite another after she marries him and moves back to Iran to have his child. At home, he’s an unreconstructed chauvinist, insisting that his wife fill traditional roles. She can’t see it, and they finally part, more or less friends, and she returns to France. In the meantime, the two women have somehow kept in touch through the years. Sometimes they meet; more often it’ll be by letter or postcard, Pomme checking in from some exotic spot and Suzanne (who eventually marries a doctor) replying with news of the reassuring rhythms of life on the farm. Varda’s title is a perfect one (and even more melodic in French: “L’une chante, l’autre pas”). Here we have them, she says: Two women, friends, and one sings and the other doesn’t, but they’ll remain friends and sisters for all of their lives. The movie’s final passages are among the best. Pomme comes with her child and friends to spend some time on the farm, and so several generations are brought together as the two friends approach the middles of their lives. There’s a picnic, and kids playing, and wine, and singing (but of too many songs), and what Varda’s doing, in a sneaky way, is making her case for feminism in a lyric voice instead of a preachy one.   **** Agnès Varda (French: [aɲɛs vaʁda]; born Arlette Varda, 30 May 1928 – 29 March 2019) was a Belgian-born French film director, screenwriter, photographer, and artist. Her pioneering work was central to the development of the widely influential French New Wave film movement of the 1950s and 1960s. Her films focused on achieving documentary realism, addressing women's issues, and other social commentary, with a distinctive experimental style.[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 location. Her use of non-professional actors was also unconventional for 1950s French cinema. Varda's feature film debut was La Pointe Courte (1955), followed by Cléo from 5 to 7 (1962), one of her most notable film narrative films, Vagabond (1985), and Kung Fu Master (1988). Varda was also known for her work as a documentarian with such works as Black Panthers (1968), The Gleaners and I (2000), The Beaches of Agnès (2008), Faces Places (2017), and her final film, Varda by Agnès (2019). Director Martin Scorsese described Varda as "one of the Gods of Cinema".[2] Among several other accolades, Varda received an Honorary Palme d'Or at the Cannes Film Festival, a Golden Lion at the Venice Film Festival, an Academy Honorary Award, and was nominated for the Academy Award for Best Documentary Feature. She was the first female director to be feted with an honorary Oscar.[3] Contents 1 Early life 2 Photography career 3 Filmmaking career 3.1 La Pointe Courte (1954) 3.2 Cléo from 5 to 7 (1961) 3.3 Ciné-Tamaris (1977) 3.4 Vagabond (1985) 3.5 Jacquot de Nantes (1991) 3.6 The Gleaners and I (2000) 3.7 Faces Places (2017) 4 Style and influences 4.1 Involvement in French New Wave 4.2 As a feminist filmmaker 5 Personal life and death 6 Awards and honors 7 Retrospectives 8 Filmography 8.1 Feature films 8.2 Short films 8.3 Television work 9 Publications 10 References 11 Further reading 12 External links Early life[edit] Varda was born Arlette Varda on 30 May 1928 in Ixelles, Brussels, Belgium, to Christiane (née Pasquet) and Eugène Jean Varda, an engineer.[4] Her mother was from Sète, France, and her father was a member of a family of Greek refugees from Asia Minor. She was the third of five children. Varda legally changed her first name to Agnès at age 18.[citation needed] During World War II, she lived on a boat in Sète with her family. Varda attended the Lycée et collège Victor-Duruy, and received a bachelor's degree in literature and psychology from the Sorbonne.[5] She described her relocation to Paris as a "truly excruciating" one that gave her "a frightful memory of my arrival in this grey, inhumane, sad city." She did not get along with her fellow students and described classes at the Sorbonne as "stupid, antiquated, abstract, [and] scandalously unsuited for the lofty needs one had at that age."[6] Photography career[edit] Varda intended to become a museum curator, and studied art history at the École du Louvre,[5] but decided to study photography at the Vaugirard School of Photography instead.[6] She began her career as a still photographer before becoming one of the major voices of the Left Bank Cinema and the French New Wave. She maintained a fluid interrelationship between photographic and cinematic forms: "I take photographs or I make films. Or I put films in the photos, or photos in the films."[7][8] Varda discussed her beginnings with the medium of still photography: "I started earning a living from photography straight away, taking trivial photographs of families and weddings to make money. But I immediately wanted to make what I called 'compositions.' And it was with these that I had the impression I was doing something where I was asking questions with composition, form and meaning."[7] In 1951, her friend Jean Vilar opened the Théâtre National Populaire and hired Varda as its official photographer. Before accepting her position there, she worked as a stage photographer for the Theatre Festival of Avignon.[5] She worked at the Théâtre National Populaire for ten years from 1951 to 1961, during which time her reputation grew and she eventually obtained photo-journalist jobs throughout Europe.[6] Varda's still photography sometimes inspired her subsequent motion pictures.[9] She recounted: "When I made my first film, La Pointe Courte—without experience, without having been an assistant before, without having gone to film school—I took photographs of everything I wanted to film, photographs that are almost models for the shots. And I started making films with the sole experience of photography, that's to say, where to place the camera, at what distance, with which lens and what lights?" She later recalled another example: I made a film in 1982 called Ulysse, which is based on another photograph I took in 1954, one I'd made with the same bellows camera, and I started Ulysse with the words, 'I used to see the image upside down.' There's an image of a goat on the ground, like a fallen constellation, and that was the origin of the photograph. With those cameras, you'd frame the image upside down, so I saw Brassaï through the camera with his head at the bottom of the image.[7] In 2010, Varda joined the gallery Nathalie Obadia.[10] Filmmaking career[edit] The beginning of Varda's filmmaking career pre-dates the start of the French New Wave, but contains many elements specific to that movement.[11]: 3  While working as a photographer, Varda became interested in making a film, although she stated that she knew little about the medium and had only seen around twenty films by the age of twenty-five. She later said that she wrote her first screenplay "just the way a person writes his first book. When I'd finished writing it, I thought to myself: 'I'd like to shoot that script,' and so some friends and I formed a cooperative to make it." She found the filmmaking process difficult because it did not allow the same freedom as writing a novel; however she said that her approach was instinctive and feminine. In an interview with The Believer, Varda stated that she wanted to make films that related to her time (in reference to La Pointe Courte), rather than focusing on traditions or classical standards.[12] La Pointe Courte (1954)[edit] Main article: La Pointe Courte Varda liked photography but was interested in moving into film. After spending a few days filming the small French fishing town of La Pointe Courte for a terminally ill friend who could no longer visit on his own, Varda decided to shoot a feature film of her own. Thus, in 1954, Varda's first film, La Pointe Courte, about an unhappy couple working through their relationship in a small fishing town, was released. The film is a stylistic precursor to the French New Wave.[13] At the time, Varda was influenced by the philosophy of Gaston Bachelard, under whom she had once studied at the Sorbonne. "She was particularly interested in his theory of 'l'imagination des matières,' in which certain personality traits were found to correspond to concrete elements in a kind of psychoanalysis of the material world." This idea finds expression in La Pointe Courte as the characters' personality traits clash, shown through the opposition of objects such as wood and steel. To further her interest in character abstraction, Varda used two professional actors, Silvia Monfort and Philippe Noiret, combined with the residents of La Pointe Courte, to provide a realistic element that lends itself to a documentary aesthetic inspired by neorealism. Varda continued to use this combination of fictional and documentary elements in her films.[14] The film was edited by Varda's friend and fellow "Left Bank" filmmaker Alain Resnais, who was reluctant to work on the film because it was "so nearly the film he wanted to make himself" and its structure was very similar to his own Hiroshima mon amour (1959). While editing the film in Varda's apartment, Resnais kept annoying her by comparing the film to works by Luchino Visconti, Michelangelo Antonioni and others that she was unfamiliar with "until I got so fed up with it all that I went along to the Cinémathèque to find out what he was talking about." Resnais and Varda remained lifelong friends, with Resnais stating that they had nothing in common "apart from cats."[6] The film was immediately praised by Cahiers du Cinéma: André Bazin said, "There is a total freedom to the style, which produces the impression, so rare in the cinema, that we are in the presence of a work that obeys only the dreams and desires of its auteur with no other external obligations."[15] François Truffaut called it "an experimental work, ambitious, honest and intelligent."[16] Varda said that the film "hit like a cannonball because I was a young woman, since before that, in order to become a director you had to spend years as an assistant."[This quote needs a citation] However, the film was a financial failure, and Varda made only short films for the next seven years.[6] Varda is considered the grandmother and the mother of the French New Wave. La Pointe Courte is unofficially but widely considered to be the first film of the movement.[17] It was the first of many films she made that focus on issues faced by ordinary people. Late in her life, she said that she was not interested in accounts of people in power; instead she was "much more interested in the rebels, the people who fight for their own life".[18] Cléo from 5 to 7 (1961)[edit] Main article: Cléo from 5 to 7 Following La Pointe Courte, Varda made several documentary short films; two were commissioned by the French tourist office. These shorts include one of Varda's favorites of her own works, L'opéra-mouffe, a film about the Rue Mouffetard street market which won Varda an award at the Brussels Experimental Film Festival in 1958.[6] Cléo from 5 to 7 follows a pop singer through two extraordinary hours in which she awaits the results of a recent biopsy. The film is superficially about a woman coming to terms with her mortality, which is a common auteurist trait for Varda.[19] On a deeper level, Cléo from 5 to 7 confronts the traditionally objectified woman by giving Cléo her own vision. She cannot be constructed through the gaze of others, which is often represented through a motif of reflections and Cleo's ability to strip her body of "to-be-looked-at-ness" attributes (such as clothing or wigs). Stylistically, Cléo from 5 to 7 mixes documentary and fiction, as had La Pointe Courte. The film represents diegetic action said to occur between 5 and 7 p.m., although its run-time is 89 minutes.[14] Ciné-Tamaris (1977)[edit] In 1977, Varda founded her own production company, Ciné-Tamaris, in order to have more control over shooting and editing.[20] In 2013, the Los Angeles County Museum of Art held Varda's first American exhibition called Agnès Varda in Californialand. The exhibition featured a sculptural installation, several photographs, and short films, and was inspired by time she spent in Los Angeles in the 1960s.[21] Vagabond (1985)[edit] Main article: Vagabond (1985 film) In 1985, Varda made Sans toit ni loi ("without roof nor law"; known in most English-speaking countries as Vagabond), a drama about the death of a young female drifter named Mona. The death is investigated by an unseen and unheard interviewer who focuses on the people who have last seen her. The story of Vagabond is told through nonlinear techniques, with the film being divided into forty-seven episodes, and each episode about Mona being told from a different person's perspective. Vagabond is considered to be one of Varda's greater feminist works because of how the film deals with the de-fetishization of the female body from the male perspective.[22] Jacquot de Nantes (1991)[edit] Main article: Jacquot de Nantes In 1991, shortly after her husband Jacques Demy's death, Varda created the film Jacquot de Nantes, which is about his life and death. The film is structured at first as being a recreation of his early life, being obsessed with the various crafts used for filmmaking like animation and set design. But then Varda provides elements of documentary by inserting clips of Demy's films as well as footage of him dying. The film continues with Varda's common theme of accepting death, but at its heart it is considered to be Varda's tribute to her late husband and their work.[19] The Gleaners and I (2000)[edit] Varda receiving an honour at the Guadalajara International Film Festival in 2010 Les Glaneurs et la Glaneuse (The Gleaners and I), a documentary, focuses on Varda's interactions with gleaners (harvesters) who live in the French countryside, and also includes subjects who create art through recycled material, as well as an interview with psychoanalyst Jean Laplanche. The film is notable for its fragmented and free-form nature along with it being the first time Varda used digital cameras. This style of filmmaking is often interpreted as a statement that great things like art can still be created through scraps, yet modern economies encourage people to only use the finest product.[23] Faces Places (2017)[edit] In 2017, Varda co-directed Faces Places with the artist JR. The film was screened out of competition at the 2017 Cannes Film Festival[24][25] where it won the L'Œil d'or award.[26] The film follows Varda and JR traveling around rural France, creating portraits of the people they come across. Varda was nominated for the Academy Award for Best Documentary Feature for this film, making her the oldest person to be nominated for a competitive Oscar.[27] Although the nomination was her first, Varda did not regard it as important, stating: "There is nothing to be proud of, but happy. Happy because we make films to love. We make films so that you love the film."[28][29] Style and influences[edit] Many of Varda's films use protagonists that are marginalized or rejected members of society, and are documentary in nature. She made a short film on the Black Panthers after seeing that their leader, Huey Newton was arrested for killing a policeman. The film's focus was on demonstrations in support of Newton and the "Free Huey" campaign.[30] Like many other French New Wave directors, Varda was likely influenced by auteur theory, creating her own signature style by using the camera "as a pen." Varda described her method of filmmaking as "cinécriture" ("cinematic writing" or "writing on film").[11]: 12  Rather than separating the fundamental roles that contribute to a film (such as cinematographer, screenwriter, and director), Varda believed that all roles should be working together simultaneously to create a more cohesive film, and all elements of the film should contribute to its message. She claimed to make most of her discoveries while editing, seeking the opportunity to find images or dialogue that create a motif.[31] Because of her photographic background, still images are often significant in her films. Still images may serve symbolic or narrative purposes, and each element of them is important. There is sometimes conflict between still and moving images in her films, and she often mixed still images (snapshots) with moving images.[11]: 13  Varda paid very close attention to detail and was highly conscious of the implications of each cinematic choice she made. Elements of the film are rarely just functional, each element has its own implications, both on its own and that it lends to the entire film's message.[11]: 15  Many of her influences were artistic or literary, including Surrealism, William Faulkner, Franz Kafka, and Nathalie Sarraute.[11]: 6, 12, 106  Involvement in French New Wave[edit] Because of her literary influences, and because her work predates the French New Wave, Varda's films belong more precisely to the Left Bank (Rive Gauche) cinema movement, along with those of Chris Marker, Alain Resnais, Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol and Henri Colpi. Categorically, the Left Bank side of the New Wave movement embraced a more experimental style than the Cahiers du Cinema group; however, this distinction is ironic considering that the New Wave itself was considered experimental in its treatment of traditional methodologies and subjects.[32] Left Bank Cinema was strongly tied to the nouveau roman movement in literature. The members of the group had in common a background in documentary filmmaking, a left wing political orientation, and a heightened interest in experimentation and the treatment of film as art. Varda and other Left Bank filmmakers crafted a mode of filmmaking that blends one of film's most socially motivated approaches, documentary, with one of its most formally experimental approaches, the avant-garde. Its members would often collaborate with each other. According to scholar Delphine Bénézet, Varda resisted the "norms of representation and diktats of production."[33]: 6  As a feminist filmmaker[edit] Varda's work is often considered feminist because of her use of female protagonists and her creation of a female cinematic voice.[20] Varda is quoted as having said, "I'm not at all a theoretician of feminism, I did all that—my photos, my craft, my film, my life—on my terms, my own terms, and not to do it like a man."[6]: 1142–1148  Although she was not actively involved in any strict agendas of the feminist movement, Varda often focused on women's issues thematically and never tried to change her craft to make it more conventional or masculine.[34][35] Historically, Varda is seen as the New Wave's mother. Film critic Delphine Bénézet has argued for Varda's importance as "au feminin singulier," a woman of singularity and of the utmost importance in film history. Varda embraced her femininity with distinct boldness.[33] Personal life and death[edit] In 1958, while living in Paris, Varda met her future husband, Jacques Demy, also a French director. They moved in together in 1959. She was married to Demy from 1962 until his death in 1990. Varda had two children: a daughter, Rosalie Varda (born 1958), from a previous union with actor Antoine Bourseiller (who starred in her early film Cléo from 5 to 7), and a son, Mathieu Demy (born 1972), with Demy.[36] Demy legally adopted Rosalie Varda.[19] Varda worked on the Oscar-nominated documentary Faces Places with her daughter.[28] In 1971, Varda was one of the 343 women who signed the Manifesto of the 343 admitting they had had an abortion despite it being illegal in France at the time and asking for abortions to be made legal.[37] Varda was the cousin of the painter Jean Varda. In 1967, while living in California, Varda met her father's cousin for the first time. He is the subject of her short documentary Uncle Yanco, named after Jean Varda who referred to himself as Yanco and was affectionately called "uncle" by Varda due to the difference in age between them.[38][39] Varda died from cancer on 29 March 2019 in Paris, at the age of 90.[40][41] She was buried at Montparnasse Cemetery on 2 April.[42][43] Among those who attended her funeral were Catherine Deneuve, Julie Gayet, Jean-Pierre Léaud, Jane Birkin, and Sandrine Bonnaire.[44] Mourners left flowers and potatoes outside her house on rue Daguerre.[45] Her death drew a passionate response from the filmmaking community with Martin Scorsese releasing a statement writing, "I seriously doubt that Agnès Varda ever followed in anyone else’s footsteps, in any corner of her life or her art. Every single one of her remarkable handmade pictures, so beautifully balanced between documentary and fiction, is like no one else’s — every image, every cut … What a body of work she left behind: movies big and small, playful and tough, generous and solitary, lyrical and unflinching … and alive."[46] Barry Jenkins tweeted, "Work and life were undeniably fused for this legend. She lived FULLY for every moment of those 90 damn years". Ava DuVernay wrote about her relationship with Varda meeting her at the Cannes Film Festival ending her statement writing "Merci, Agnes. For your films. For your passion. For your light. It shines on." Other filmmakers and artists spoke out paying tribute to Varda including Guillermo del Toro, the Safdie brothers, Edgar Wright, JR and Madonna.[47] Awards and honors[edit] Varda's handprints at Cannes Varda was a member of the jury at the Cannes Film Festival in 2005 and a member of the jury at the Venice Film Festival in 1983.[48][49] In 2002 she was the recipient of the French Academy prize, René Clair Award.[50] On 4 March 2007, she was appointed a Grand Officer of the National Order of Merit of France.[51] On 12 April 2009, she was made Commandeur de la Légion d'honneur.[52] In May 2010 Varda received the Directors' Fortnight's 8th Carosse d'Or award for lifetime achievement at the Cannes Film Festival.[53] On 22 September 2010, Varda received an honorary degree from University of Liège, Belgium.[54] On 14 May 2013, Varda was promoted to Grand Cross of the National Order of Merit of France.[51] On 22 May 2013, Varda received the 2013 FIAF Award for her work in the field of film preservation and restoration.[55] On 10 August 2014, Varda received the Leopard of Honour award at the 67th Locarno Film Festival.[56] She was the second female to receive the award after Kira Muratova.[57] On 13 December 2014, Varda received the honorary Lifetime Achievement Award, presented by the European Film Academy.[58] On 24 May 2015, Varda received an honorary Palme d'Or. She was the first woman to receive an honorary Palme d'Or.[59] On 16 April 2017, Varda was promoted to Grand officier de la Légion d'honneur.[60] Varda was included in Cinema Eye's 2017 list of "Unforgettables."[61] On 11 November 2017, Varda received an Academy Honorary Award for her contributions to cinema, making her the first female director to receive such an award.[62][63][64] The prize was presented at the 9th Annual Governors Awards ceremony. She was nominated two months later for the Academy Award for Best Documentary Feature for her documentary Faces Places, becoming the oldest nominated person at the show (she was eight days older than fellow nominee James Ivory).[65] For the 1985 documentary-style feature film Vagabond, she received the Golden Lion of the 42nd Venice International Film Festival.[66] In 2009, The Beaches of Agnès won the Best Documentary Film award at the 34th César Awards.[67] At the time of her death, Varda was the oldest person to be nominated for an Academy Honorary Award and is the first female director to receive an honorary Oscar.[68] In 2017, she was awarded the Honorary Academy Award which was presented to her by Angelina Jolie at the Governors Awards. In 2019, the BBC polled 368 film experts from 84 countries to name the 100 best films by women directors. Varda was the most-named director, with six different films on the list: The Beaches of Agnes, One Sings, the Other Doesn't, The Gleaners and I, Le Bonheur, Vagabond, and the number-two entry on the list, Cléo from 5 to 7.[69][70] Retrospectives[edit] Agnès Varda at Bildmuseet, Umeå University, Sweden. June 2, 2013 - August 18, 2013 [71] Filmography[edit] Varda speaking at a retrospective series of her work at the Harvard Film Archive Feature films[edit] Year Original title[72] English title Credits 1955 La Pointe Courte — Director, writer 1962 Cléo de 5 à 7 Cléo from 5 to 7 Director, writer 1965 Le Bonheur — Director, writer 1966 Les Créatures The Creatures Director, writer 1967 Loin du Vietnam Far from Vietnam Co-director 1969 Lions Love Lions Love Director, writer, producer 1975 Daguerréotypes — Director, writer 1977 L'Une chante, l'autre pas One Sings, the Other Doesn't Director, writer 1981 Mur Murs Mural Murals Director, writer 1981 Documenteur Documenteur Director, writer 1985 Sans toit ni loi Vagabond Director, writer, editor 1988 Jane B. par Agnes V Jane B. by Agnes V. Director, writer, editor 1987 Le petit amour Kung Fu Master Director, writer 1991 Jacquot de Nantes Jacquot Director, writer 1993 Les demoiselles ont eu 25 ans The Young Girls Turn 25 Director, writer 1994 Les Cent et une nuits de Simon Cinéma A Hundred and One Nights Director, writer 1995 L'univers de Jacques Demy The World of Jacques Demy Director, writer 2000 Les Glaneurs et la glaneuse The Gleaners and I Director, writer, producer, editor 2002 Les Glaneurs et la glaneuse... deux ans après The Gleaners and I: Two Years Later Director, editor 2004 Cinévardaphoto Cinévardaphoto Director, writer 2006 Quelques veuves de Noirmoutier Some Widows of Noirmoutier Director, writer 2008 Les plages d'Agnès The Beaches of Agnès Director, writer, producer 2017 Visages Villages Faces Places Director 2019 Varda par Agnès Varda by Agnès Director Short films[edit] Year Original title[72] English title Credits 1958 L'opéra-mouffe Diary of a Pregnant Woman Director, writer 1958 La cocotte d'azur - Director, writer 1958 Du côté de la côte Along the Coast / Coasting the Coast Director, writer 1958 Ô saisons, ô châteaux - Director, writer 1961 Les fiancés du pont MacDonald (Méfiez-vous des lunettes noires) - Director, writer 1963 Salut les cubains - Director, actress 1965 Elsa la rose - Director, writer 1967 Oncle Yanco Uncle Yanco Director, writer, actress 1968 Black Panthers - Director 1975 Réponse de femmes: Notre corps, notre sexe Women Reply Director, writer, actress 1976 Plaisir d'amour en Iran - Director, writer 1984 Les dites cariatides The So-Called Caryatids Director, writer, actress 1984 7p. cuis., s. de b., ... à saisir - Director, writer 1986 T'as de beaux escaliers, tu sais You've Got Beautiful Stairs, You Know Director, writer 1982 Ulysse Ulysse Director, writer, actress 2002 Hommage à Zgougou (et salut à Sabine Mamou) Tribute to Zgougou the Cat Director, writer, actress 2003 Le lion volatil - Director, writer 2004 Ydessa, les ours et etc. Ydessa, the Bears etc. Director, writer 2004 Viennale Walzer Vienna International Film Festival 2004 - Trailer Director, writer, actress 2005 Les dites cariatides bis - Director, writer 2005 Cléo de 5 à 7: souvenirs et anecdotes Cléo from 5 to 7: Remembrances and Anecdotes Director 2015 Les 3 Boutons The Three Buttons Director, writer Television work[edit] Year Original title[72] English title Credits 1970 Nausicaa (TV movie) - Director, writer 1983 Une minute pour une image (TV documentary) - Director 2010 P.O.V., episode 3, season 23, The Beaches of Agnès - Director, writer, producer, cinematographer 2011 Agnès de ci de là Varda, 5 episodes (TV documentary) - Director, writer, actress  ebay 5625

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