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Antti Alanen: Film Diary:

Varda par Agnès / Varda by Agnès

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FR © 2019 Ciné Tamaris – ARTE France – HBB26 – Scarlett Production – MK2 Films. Ciné Tamaris and ARTE France present. P: Rosalie Varda. D+SC: Agnès Varda. 1st part codirected by Didier Rouget. Agnès Varda's artistic director: Julia Fabry. Images: François Décréau, Claire Duguet, Julia Fabry. Creation of the birds: Christophe Vallaux. S: David Chaulier, Alan Savary. ED: Agnès Varda with Nicolas Longinotti, chief editor. (Full credits beyond the jump break).     DCP with English subtitles released by Cinema Mondo viewed at Kino Engel 1, Helsinki, 2 June 2019. In recent years we have been rewarded with distinguished testament movies by prominent film directors including Manoel de Oliveira's wistful Visita ou Memórias e Confissões (1981/2015) and Chantal Akerman's quietly devastating No Home Movie (2015). Varda par Agnès is a joyful entry in this "cycle" of testament films. The director gives an irreverent overview of her career as a film-maker, photographer and gallery artist. There is a lot of new special background material about all stages of her career, surprisingly even about her first film La Pointe Courte (1954). Agnès Varda was the mother of all the new waves, not only in France, but preceding the direct cinema and cinéma-vérité trends in Canada and the US, the Free Cinema in Britain, and the new waves of Czechoslovakia, Poland, Hungary, and Nordic countries. Amazingly, she never lost her youthful spirit as we can see in Varda par Agnès which had its world premiere at the Berlin Film Festival in February 2019, a month before her death in March 2019. All the highlights are on display: the Faulknerian debut La Pointe Courte, the enchanting Cléo de 5 à 7, and the existentialist "comeback" film Sans toit ni loi, after which Varda in my opinion was wandering in the wilderness and even had a five year break in her film directing career. With the new century and the adoption of digital cameras she came back and did some of her greatest work, starting with Les Glaneurs et la glaneuse, for me her masterpiece. In Varda par Agnès we also get fascinating glimpses of her less known work such as Oncle Yanco where Tom Luddy takes her to meet her uncle Jean "Yanco" Varda in San Francisco. We also visit Black Panthers in Oakland, experience free love in Lions Love and see a pioneering documentary on graffiti in Mur murs. We hear key songs such as "My Body Belongs To Me" from the feminist musical L'une chante l'autre pas, and "Sans toi" sung by Corinne Marchand with Michel Legrand at the piano in Cléo de 5 à 7. To the end Varda was looking ahead and formed a creative collaboration with the "photograffeur" JR in Visages villages. Beaches are a recurrent motif in this poetic testament (Varda loves beaches and hates walls). The finale is about tide and ebb, wind and sand. The director disappears in the blur. A high visual quality in the digital presentation. Evidently the digitization of Agnès Varda's films has been conducted with good taste and judgment. BEYOND THE JUMP BREAK: DATA FROM THE CINE TAMARIS PRESSBOOK PDF: BEYOND THE JUMP BREAK: DATA FROM THE CINE TAMARIS PRESSBOOK PDF: SYNOPSIS Agnès  Varda takes  a  seat  on  a  theatre  stage.  This  professional  photographer,  installation  artist  and pioneer of the Nouvelle Vague is an institution of French cinema but a fierce opponent of any kind of institutional thinking. In this film, she offers insights into her oeuvre, using excerpts from her work to illustrate – more  associatively  than  chronologically – her  artistic  visions  and  ideas.  Her  lively, anecdote-rich and clever talk is divided into two sections. Firstly,  she  elucidates  her  ‘analogue  period’  from  1954  to  2000,  in  which  the  director  is  in  the foreground.  This  was  the  young  woman  who  set  out  to  reinvent  cinema,  someone  who  was  always open to chance and to moments of documentary, even in fiction; who, with every new film, changed her  narrative  style.  In  the  second  part,  Agnès  Varda  focuses  on  the  years  from  2000  to  2018,  and shows how she uses digital technology to look at the world in her own, unique way. And started a new life as a visual artist, showing pieces that film goers have never seen. Whether  in  front  of  the  camera  or  behind  it,  Agnès  Varda  is  a  visual  storyteller  who  eschews convention and prescribed approaches to drama. Together with some of her fellow travelers, she takes the audience on a journey through her world of unorthodox images. DIRECTOR'S STATEMENT In 1994, with a retro at the French Cinémathèque, I published a book entitled VARDA BY AGNÈS. 25  years later,  the  same  title  is  given  to  my  film  made  of  moving  images  and  words, with  the  same project: give keys about my body of work. I give my own keys, my thoughts, nothing pretentious, just keys. The film is in two parts, two centuries. The  20th century from  my  first  feature  film  LA  POINTE  COURTE  in  1954 to  the  last  one  in  1996, ONE HUNDRED AND ONE NIGHTS. In between, I made documentaries, features, short and long. The  second  part  starts  in  the  21st century, when  the  small  digital  cameras  changed  my  approach  to documentaries, from  the  GLEANERS  AND  I  in  2000  to  FACES  PLACES,  co-directed  with JR  in 2017. But during that time, I mostly created art installations, atypical triptychs, shacks of cinema and I kept making documentaries, such as THE BEACHES OF AGNÈS. In the middle of the two parts, there is a little reminder about my first life as a photographer. I've made a wide variety of films in my life. So I need to tell you what led me to do this work for so many years. Three words are important to me: Inspiration, creation, sharing. INSPIRATION is why you make a film. The motivations, ideas, circumstances and happenstance that spark a desire and you set to work to make a film. CREATION is how you make the film. What means do you use? What structure? Alone or not alone? In colour or not in colour? Creation is a job. The  third  word  is SHARING. You  don't  make  films  to  watch  them  alone,  you  make  films  to  show them. An empty cinema: a filmmaker’s nightmare! People are at the heart of my work. Real people. That's how I've always referred to the people I film in cities or the countryside. When you film something, a place, a landscape, a group of people, even if the subject is specific, what you shot indicates your deepest project. I  like  to  bring  together reality and its representation. But I also like to juxtapose moving images and still images, in video and in photography. Agnès Varda DIRECTOR’S INTERVIEW VARDA BY AGNÈS is a retrospective in some ways. What is your point of view in this film? It could be called a “masterclass”, but I don't feel like a master and I never taught. I don't like the idea. It is not so much about retelling the stories, but more about the structure and the intention and my sources. But I didn't want it to be very boring. So it's in a theater with people, or in a garden, and I try to be myself and communicate the energy or the intention or the feeling I'd like to share. It's what I call cine-writing, in which all the choices participate in something you could call “style.” But  style  is  a  literary  word.  So  cine-writing  is  all  the  elements  I  think  we  have  to  think  of,  or choose, or use, to make a film. Is it difficult to examine your own work to turn it into this film? It's not difficult, because I think deeply about what I do. And when it's finished I don't think of it as 'I  could  have  done  better'  or  'I  could  have  done  worse,'  but  I  try  to  understand  the  process  of creating. It's not only technical, I try to be spontaneous. The process is how you can find the right images, the right words, following instinct. I really try to follow a filmic instinct. I'm an artist now, I'm preparing another exhibition, and I show it vaguely in the second part because the documentary has  two  parts,  the  20th century  and  the  21st century.  In  the  20th century  I  was  mostly  a  filmmaker and  in  the  21st century,  I  am  an  artist.  I  alternate  documentaries  and  installations.  I  build  houses, shacks, with the actual composite prints. I've done the installations for a different way of looking at things,  putting  people  in  chairs  with  headphones  and  I  question  the  communication  between  the one who creates and the one who receives. It's like recycling my past as a filmmaker. In  a  way,  this  is  the  'last  word.'  Does  this  film  say  what  you  want  to  say  about  your  idea  of filmmaking? I  never  wanted  to  say  anything,  I  just  wanted  to  look  at  people  and  share.  There  never  was  a message that you should get and understand, so I can't say if I'm satisfied or not. But let's make it clear, the film I'm presenting in Berlin is maybe not so entertaining, but I will no longer accept to do a talk. This is it, this is my talk. You show [the film], don't ask me to come. I spoke so often, everywhere,  including  Harvard  University,  and  a  TED  Talk  when  I  was  in  Los  Angeles.  I  don't want to do press, I don't want to speak about my work. I feel that I should spend two hours to look at a tree or to look at a cat, instead of speaking. After Berlin, the film will be showed instead of me speaking! You've  talked  about  “being  a  star  of  the  margins”, of  never  being  in  the  mainstream.  How has that impacted your point of view as a filmmaker? I  have  made  few  films  in  a  way.  I  never  made  action  films.  I  never  made science-fiction films.  I never made, really, very complicated settings, because I had modest ambitions. I knew they would never  trust  me  to  have  the  budget  to  do  something  different,  so  my  mind  was  more  focused  on things  I  know.  So  they  were  always  mental  adventures  I  wanted  to  approach  and  share.  The cinephile section of the Oscar has chosen me when they wanted to pay tribute to people who have worked  for  cinema  with  no  special  connection  with  success  or  money,  and  I'm  proud  that  they picked  me.  Working  for  cinema  with  not  only  no  money,  but  also  no  ambition  for  money.  And  I think I was happy and proud because of that, that they could understand what kind of work I have done  over  60  years.  I  stayed  faithful  to  the  ideal  of  sharing  emotion,  impressions,  and  mostly because I have so much empathy for other people that I approach people that are not really spoken about. I have 65 years of work in my bag, and when I put the bag down, what comes out? It's really the desire of finding links and relationships with different kind of people. I never made a film about the bourgeoisie, about rich people, about nobility. My choices have been to show people that are in a way like everybody and see that each of them has something special, interesting, rare and beautiful. It's  my  natural  way  of  looking  at  people.  I  didn't  fight  my  instincts.  And  maybe  that  has  been appreciated in the famous circle of Hollywood. And  aside  from  the  Oscar,  you  also  received  an  honorary  Palme  d'Or,  a  recent  honor  at Marrakech... I think they will give me something in Berlin too. Now that I'm old they want to give me something everywhere!  It's  like  saying,  you're  old  so  we'll  give  you  something.  So  I  have  two  closets  full.  I say thank you, of course, as if someone gives you a gift, but I think it's unfair. Some other woman, some other director should have it. There are a lot of directors working, especially in France, a lot of them good and I'm the oldest so I look at it like, I'm a potiche now and it's easy to put me on the top [of a pedestal.] But I really respect a lot of women directors that don't get awards. So I feel a little like it's an alibi, like saying, 'We respect women' but it's too much for me. Some other women are  really  good,  I  would  like  them  to  be  in  light  more  often.  I  could  say  for  example  Céline Sciamma,  Naomi  Kawase,  Ulla  Stöckl,  Maren  Ade,  Pascale  Ferran,  Claire  Denis,  Emmanuelle Bercot,  Noémie Lvovsky,  Ruth  Beckermann,  Sally  Potter,  Jane  Campion  and  I  could  name  many others. Does cinema have a responsibility to educate? I work hard to make honest cinema but I'm not pretentious to think I can change the world. JR says that  art  can  change  the  world.  No,  we  can  sometimes  change  the  mentality  of  people,  or we  can change the vision of people about the world or about other people. We have to know that being an honest artist is already something but I don't know if we can do much more. I appreciate that you took the time today. Well you should, because this is the end, my friend. I will do some art now after, because filming is tiring. I no longer want to work so hard. It's too difficult. I'd like to stay here a little, be calm, enjoy, even remembering peacefully can make my day. You don't disturb me. You did it with a good and friendly  spirit,  but  you  see,  we  spent  an  hour  talking  about  my  career  and  life  is  passing,  every minute is passing. I enjoy what is here. And even seeing the tulips aging, I love that. The more you wait, they become very  bizarre.  As  it  was  with  the  heart-shaped  potatoes  aging  in THE  GLEANERS  AND I.  The aging process, I enjoy it a lot. I love what happens to things aging, and to people aging, and I love the wrinkles, the hands, I love all that. I'm really interested in what can happen to a hand. It can be a  lovely  landscape.  So  I  have  a  good  time  aging,  and  I  love  to  see  things  getting  to  be  naturally, vaguely destroyed. One  of  my  art  pieces  is PATATUTOPIA.  It  is  a  triptych  of  heart-shaped  potatoes.  I  kept  the potatoes and checked on them to see how they were aging and aging potatoes are really beautiful. So you have to feel that way. Don't suffer. Be like a potato. Interview with Rhonda Richford, The Hollywood Reporter, Paris– Jan. 31st 2019 ABOUT VAGABOND, THE REBELLIOUS GIRL ON THE ROAD “The  film’s  structure  was  precise.  I  wanted  the  camera  to  walk  the  roads  with  her.  To  do  that,  I used  tracking  shots.  There  are  13  in  the  film.  The  shots  move  from  right  to  left,  which  is distributing: in the West, it is the opposite of how we read. Mona is rejected by the people, the tracking shots are the intervals of her adventures. I met with Sandrine Bonnaire, we remembered our relationship on the shooting. No psychological talks. Only working on behaviors. How to put a backpack down, how to fix her rotten boots.” Sandrine said that I was rough with her. I remember I wanted her to feel lonely. We both remembered the opening scene in which she is dead:  she is put in a plastic bag, closed with a zip. It’s a situation where the real shooting is emotional.” JANE B. BY AGNÈS V. At the time, Agnès got Jane Birkin to pose as Titian’s Venus in jeans. “We played with cinema and painting.Goya, Vermeer, Salvador Dali.” Agnès also filmed Cubans in SALUT LES CUBAINS,...... the Black Panthersin BLACK PANTHERS...... and Hollywood hippies in LIONS LOVE and LIES. “I shot that film in a very improvised way. Very natural. Quite sophisticated too.” JACQUOT DE NANTES Agnès talks about how she worked with Jacques Demy’s memories, sometimes inventing them... “At a very sad time of my life, when Jacques Demy was ill, he shared his memories, wrote them down. Fond memories of his childhood. He was raised in Nantes, in the garage where his father worked. He was taking notes. Every few days he showed them to me. I said, "This would be a great film. Will you make it?" He said, "You do it, I'm too tired." So I made a film about Jacques Demy's childhood.” ONE HUNDRED AND ONE NIGHTS How the 100th anniversary of cinema prompted the comedy One Hundred and One Nights. Many stars visiting Mister Cinema, Michel Piccoli,and his close friend, Marcello Mastroianni. MURAL MURALS In  her  documentaries,  Agnès likes  to  discover  people  and  images.  In  1979,  nobody  spoke  about  the murals. She made her film to find out who paints them, who sees them, who pays them. DOCUMENTEUR (AN EMOTION PICTURE) In DOCUMENTEUR, she also shows how random footage shot here and there can be used to create an emotionally  meaningful  language  in  a  feature  film.  Her  experimentation  with  writing  goes  hand  in hand with her delight at discovering faces, places and the movements of life. THE GLEANERS AND I In their own words, gleaners discuss overproduction, waste and how they salvage as people who “pick up and eat what we throw away.” The film still has a strong impact today. PATATUTOPIA Agnès has three lives: photographer, filmmaker and visual artist .Her  life  as  an  artist  began  at  the  Venice  Biennale  in  2003  with  the  triptych  video  installation Patatutopia, celebrating wizened heart-shaped potatoes, their sprouts and roots. She talks about how she managed her installation, but also the surprises, emotions and inventions that sprang from this newfound freedom. This triptych is in celebration of the world’s most modest vegetable: the potato. On the central screen: heart shaped potatoes breathe. They are old wizened crumpled potatoes but that have sprout. On the side screens, variations of sprouts. Roots, blossoms. On the floor, 700 kg potatoes.“ THE BEACHES OF AGNÈS In her cinema, Agnès already used installations. In  THE  BEACHES  OF  AGNÈS,  she  set  mirrors  on  the  beach  to  make  her  self-portrait featuring  the men and women who shaped her life on the beaches nearby where she lived all her life, as a common landscape. The film gave her an opportunity to explore themes touching on memory, beached whales, toy train collectors... “If you opened people up, you will find landscapes,if you opened me up, you would find beaches." FACES PLACES Agnès Varda collaborated  with  the  artist  JR  to  make  the  documentary FACES PLACES,  a  merger  of their two artistic visions. This modest documentary about modest people was noticed up to the Oscars. “We wanted to make a film of our encounters with people. We listened to them, made them speak and took big images of them that we pasted on the walls in reaction to the usual and invasive huge advertising faces. Our social and sociological experiment was full of surprises.” INSTALLATIONS Shifting from cinema to video, from colour to black &white, from stillness to movement, she created the Atypical Triptychs and a multiple installation, The Widows of Noirmoutier. THE CINEMA SHACKS Agnès  seeks  passages,  intersections  and  fusions. Always  striving  to  share  and  recycle,  she  built CinemaShacks out of waste reels of 35 mm prints. “My nostalgia for 35 mm cinema turned into a recycling whim... I build shacks with the waste reels of my movies. Tossed aside because no longer screened, the silver stock of the composite print itself becomes a shack. I build them on a metal structure and we carefully chose the images at eyesight level. The last one made from a print of my film HAPPINESS is a greenhouse full of sunflowers.” PHOTOBOX Agnès started her life as a photographer, took many portraits, including three self-portraits. From the start of her first life to her current 90 years, Agnès Varda’s life as artist-filmmaker has been creative and original. BIOGRAPHY Agnès Varda was born in Ixelles, Belgium in 1928 and grew up alongside four brothers and sisters. In 1940, her family moved to the south of France to escape the war. Agnès Varda spent her teenage years in  Sète  then  moved  to  Paris  where  she  studied  at  the  École  du  Louvre  and  took  evening  classes  in photography at the École de Vaugirard. Agnès Varda became a photographer for Jean Vilar when he founded the Avignon theater festival in 1948,  then  for  the  Théâtre  National  Populaire  at  the  Palais  de  Chaillot  in Paris.  She  held  her  first personal exhibition in 1954 in the courtyard of her home. That  same  year,  Agnès  Varda  made  the  move  to  cinema  without  any  formal  training.  She  founded Ciné Tamaris  (a  cooperative)  to  produce  and  direct  her  first  feature, LA  POINTE  COURTE, which has earned her the title "Godmother of the French New Wave." She has since directed short films and features, both fiction and documentaries. In 2003, she began her third career as a visual artist at the Venice Biennale. She  lives  on  Rue Daguerre  in  the  14th  arrondissement  of  Paris.  Agnès  Varda  was  married  to filmmaker Jacques Demy (deceased in 1990) and together they raised Rosalie Varda-Demy, costume designer and producer and Mathieu Demy, actor and filmmaker. Agnès Varda on the set on the first day of her first film, LA POINTE COURTE, July 1954 FILMOGRAPHY SHORT FILMS – Ô SAISONS Ô CHÂTEAUX (1957) – DIARY OF A PREGNANT WOMAN (1958) – DU CÔTÉ DE  LA  CÔTE (1958) – SALUT  LES  CUBAINS (1963) – ELSA  LA  ROSE (1965) – UNCLE YANCO (1967) – BLACK   PANTHERS (1968) – WOMEN   REPLY (1975) – PLAISIR D’AMOUR EN IRAN (1976) – ULYSSE (1982) – UNE MINUTE POUR UNE IMAGE (1982) – THE  SO-CALLED  CARYATIDS (1984) – 7  P.,  CUIS.,  S.  DE  B. (1984) – YOU'VE  GOT BEAUTIFUL  STAIRS,  YOU  KNOW... (1986) – LE LION  VOLATIL (2003) – YDESSA,THE BEARS and ETC... (2004) – THE THREE BUTTONS (2015) and other short films that appeared as part of the installations since 2003. FEATURE FILMS AND DOCUMENTARIES 1954 LA POINTE COURTE Age d'Or Prize, Brussels (1955) 1961 CLÉO FROM 5 TO 7 Cannes Film Festival, Prix Méliès (1962) 1964 HAPPINES SSilver  Bear  at  the  Berlin  Film  Festival,  Louis  Delluc  Prize,  David  Selznick Award (1965) 1966 THE CREATURES 1969 LIONS LOVE (...AND LIES) 1970 NAUSICAA (lost) 1975 DAGUERRÉOTYPES (documentary) Prix  du  Cinéma  d'Art  et  Essai  (1975),  Academy Award nominee for Best Documentary (1975) 1976 ONE SINGS THE OTHER DOESN'T Grand Prize at the Taormina Film Fest (1977) 1980 MUR  MURS (documentary) Grand  Prize  at  the  Festival  dei  Populi  Florence (1981),  Josef von Sternberg Mannheim Award (1981) 1981 DOCUMENTEUR Audience Award at the Women's Film Festival Brussels (1982) 1985 VAGABOND Golden Lion at the Venice Film Festival (1985), Prix Méliès (1985) 1987 JANE B. BY AGNÈS V. Berlin Film Festival (1988) 1987 KUNG-FU-MASTER Berlin Film Festival (1988) 1990 JACQUOT DE NANTES Out of Competition Cannes Film Festival (1991) 1992 THE  YOUNG  GIRLS  TURN  25 (documentary) Un Certain Regard  Cannes  Film  Festival (1993), Gold Plaque at the Chicago Film Festival (1993) 1993 L’UNIVERS DE JACQUES DEMY (documentary) 1994 ONE HUNDRED AND ONE NIGHTS Berlin Film Festival (1995) 2000 THE  GLEANERS  AND  I (documentary) Out  of Competition  Cannes  Film  Festival  (2000), Prix Méliès, Best European Documentary (2000) 2002 DEUX ANS APRES (documentary) 2006 QUELQUES  VEUVES  DE  NOIRMOUTIER (documentary) montage-adaptation  of  the installation THE WIDOWS OF NOIRMOUTIER. 2008 THE   BEACHES   OF   AGNÈS Venice   Film   Festival   (2008),   César   Award   for   Best Documentary  Feature (2009),  Prix  Henri Langlois  (2009),  Award  for  Best  French  Film, National  Society of  Film  Critics  Award  (2008),  Étoile  d’Or  for  Documentary  film,  French Cinema Press Award (2009), SACD Grand Prize (2009) 2010 AGNÈS DE-çI DE-LÀ VARDA (documentary) Series   of   chronicles,   journeys   and encounters with artists. 2018 FACES PLACES co-directed with French artist JR, Academy Award and César nominee for Best Documentary Feature (2018), Golden Eye Prize Cannes Film Festival (2018) 2019 VARDA BY AGNÈS Out of Competition Berlin International Film Festival(2019) AWARDS (selection) 1965 Silver Bear Jury Prize at the Berlin Film Festival and the Louis Delluc Prize for HAPPINESS 1984 César Award for Best Documentary Short Film for ULYSSE 1985 Golden Lion at the Venice Film Festival for VAGABOND 2001 European Film Award for THE GLEANERS AND I 2009 César Award for THE BEACHES OF AGNÈS 2017 Golden Eye Documentary Prize, Cannes Film Festival and Spirit award for best documentary for FACES PLACES HONORARY AWARDS 2001 César - Honorary Award 2002 René Clair Award, Académie Française 2008 Honorary Doctorate, The Faculty of Fine and Applied Arts, University of Gothenburg 2010 Carrosse d’Or, S.R.F. (Société des Réalisateurs de Films) 2010 Honorary Doctorate, LiègeUniversity 2014 Leopard of Honor, Locarno Film Festival 2015 Honorary Palme d’Or, Cannes Film Festival 2016 Roger Ebert Tribute & inauguration of the Varda Lounge –TIFF, Toronto 2017 Honorary Oscar for Lifetime Achievement 2018 Etoile d’or at the International Film Festival of Marrakech EXHIBITIONS(selection) 2003 Biennale de Venise, Section Utopia Station 2004 Biennale d’Art de Taipei 2005 Galerie Martine Aboucaya,Paris « 3 + 3 + 15 = 3 installations» Abbaye de Ronceray, Angers «Patatutopia» 2006 Fondation Cartier pour l’Art Contemporain,Paris « L’Ile et Elle» SMAK, Gand 2007 Commande publique, Panthéon, Paris « Hommage aux Justes de France» Festival d’Avignon, Chapelle Saint-Charles « Je me souviens de Vilar en Avignon» 2009 Cambridge, Carpenter Center «Les Veuves de Noirmoutier» CRAC, Sète « La Mer... Etsetera» Biennale, La Sucrière, Lyon Musee Serralves, Porto 2010 Basel Art Fair, Art 41, Section Art Unlimited Galerie Nathalie Obadia, Bruxelles « Portraits Brisés, 2009» MAC/VAL, Vitry-sur-Seine «Never More» 2011 Musée Paul Valery, Sète « Y’a pas que la mer» 2012 CAFA Art Museum, Pékin Hubei Art Museum, Wuhan «1957, The Beaches Of Agnes Varda In China, 2012 »Estuaire, Nantes« Des chambres en ville»Centro Andaluz, Séville 2013 Galerie d’Art des Bouches du Rhône, Aix-en-ProvenceLACMA, Los Angeles «Shack of Cinema» 2014 Galerie Nathalie Obadia, Paris «Triptyques atypiques» 2015 Logan Center Chicago «Photographs Get Moving (Potatoes and shells, too)» Centre Georges Pompidou, Paris« Varda Cuba» 2016 Musée d’Ixelles, Bruxelles « Agnès Varda Patates & Compagnie » Cité des sciences, Paris « Patatutopia» 2017 Château de Noirmoutier « Une île au cinéma» Galerie Blum & Poe, New York «Agnès Varda» 2018  Galerie Nathalie Obadia rue du Bourg Tibourg, Paris Agnès Varda La Cabane du Bonheur Pazo da Cultura, Pontevedra, Espagne Agnès varda, Variacions ao redor do mar, (Variations autour de la mer) Liverpool Bienniale, England 2019 Espace Jean Lurçat, Juvisy-Sur-Orge, Agnès Varda, Visages, Mouvements Domaine de Chaumont-sur-Loire, Installations at the Festival International des Jardins BIBLIOGRAPHY 1961 La Côte d’azur, d’azur, d’azur, Éditions du Temps, Paris 1962 Cléo de 5 à 7, NRF, Gallimard, Paris 1994 Varda par Agnès, Editions des Cahiers du Cinéma, Paris 2006 L’Ile et Elle, Actes Sud Beaux Arts, Fondation Cartier pour l’Art Contemporain 2010 2010 Les  Plages  d’Agnès, illustrated  text  of  the  film by  Agnès  Varda,  collection  Mémoires  de César, Éditions de l’œil EXHIBITION CATALOGUES 2006 L’Ile et Elle - Regards sur l’exposition, Actes Sud Beaux  Arts, Fondation  Cartier  pour  l’art contemporain 2011 Y’a Pas Que la Mer, Musée Paul Valéry, Sète, Éditions Au Fil du Temps 2013 The Beaches of Agnès Varda in China 1957-2012, CAFA Art Museum & Hubei Museum of Art Agnès Varda, Bildmuseet (Sweden) 2015 Varda/Cuba, Editions du centre Pompidou, Éditions Xavier Barral 2016 Patates & compagnie, Musée d’Ixelles (Belgium), Éditions Silvana Editoriale Italy ... CREDITS CINÉTAMARIS and ARTE France present VARDA BY AGNÈS a film written and directed by AGNÈS VARDA produced by ROSALIE VARDA associate producers JOËY FARÉDANY BOON coproduced by HBB 26, SCARLETT PRODUCTION, MK2 FLMS with the participation of CINÉ + with the support of AVA DUVERNAY - EVA LONGORIA – KAT CANDLER VIC MAHONEY – NICOLE KASSEL - ARRAY ALLIANCE ENRICO NAVARRA and EMMANUEL BARTH THE MUSEUM OF MODERN ART, NEW YORK LA FONDATION CARTIER POUR L’ART CONTEMPORAIN, PARIS KERING CENTRE NATIONAL DU CINEMA ET DE L’IMAGE ANIMEE 1stpart codirected by DIDIER ROUGET Agnès Varda’s artistic director JULIA FABRY production manager CECILIA ROSE images FRANÇOIS DÉCRÉAU, CLAIRE DUGUET, JULIA FABRY sound DAVID CHAULIER, ALAN SAVARY editing AGNÈS VARDA with NICOLAS LONGINOTTI, chief editor sound editing and mixing BORIS CHAPELLE colour grading ALEXANDRA POCQUET post-production manager SOPHIE VERMERSCH with the kind participation of SANDRINE BONNAIRE, NURITH AVIV, HERVÉ CHANDÈS camera assistants MARGAUX HALLENSTEIN, MAËLENN DUJARDIN, ÉTIENNE BLANCHARD, CHARLOTTE MICHEL time lapse operator JÉRÉMY LESQUENNER unit manager JULIEN RAMBAUD chief electrician STÉPHANE MACHET, ÉTIENNE BERNARDOT key grip DAVID CAMPBELL grips THIBAUT GUENOIS, BENJAMIN CHAUDAGNE creation of the birds CHRISTOPHE VALLAUX props CORENTIN VIGNET VFX DAN RAPAPORT sound editing assistants LOUIS DEURRE, LEO PEUGEOT administrator ERIC LEPRÊTRE Ciné Tamaris interns LEÏLA TSAKAIEVA – MORGAN BIZET - PIERRE-ANTOINE BOURQUIN –STANISLAS BIESSY AGNÈS heartfully thanks her little team and the technicians of all her films, making of, boni and SANDRINE BONNAIRE, HERVÉ CHANDES, CLAUDE-ÉRIC POIROUX, NURITH AVIV, HANS-ULRICH OBRIST, PHILIPPE PIGUET, NATHALIE OBADIA, MARTINE ABOUCAYA, SEMPÉ, JOANNA BRUZDOWICZ, MICHEL LEGRAND, MATTHIEU CHEDID, VÉRONIQUE BÉRARD - GEORGETTA MINZALA All those who helped and surrounded her,especially ROSALIE VARDA-DEMY and MATHIEU DEMY ROSALIE VARDA and CINÉ TAMARIS thank VÉRONIQUE CAYLA, FABRICE PUCHAULT (and his students at the Sorbonne) –KAREN MICHAEL, DANY BOON - VÉRONIQUE GUERET – VIRGINE LAPP, JOËY FARÉ, FRANÇOIS – HENRI PINAULT, NATHANAËL et ELISHA KARMITZ –JULIETTE SCHRAMECK, RAJENDRA ROY – SEAN EGAN, BRUNO DELOYE, ENRICO NAVARRA – EMMANUEL BARTH – SÉBASTIEN MOREU, MARTINE SAADA, LAURENT STORCH, STÉPHANE LEROUGE, VALÉRIE DUPORT – BÉRENGERE GAUCHER, MATHIEU LIRON The teams of the Galerie Nathalie Obadia and of the Fondation Cartier pour l’Art contemporain ARNAUD GOURMELEN, Quentin Calmont and Corentin Besnier, the festival d’Angers and its audience, Martine Gossieaux, Inès Allorant et Franck Gervier the children at the beach of Noirmoutier: Aurélie, ElyasJulianne, Mewen, Charly, Lucas, Zia the children at the Fondation Cartier: Anoki, Esther, Jeanne, Cléo, Brune, Raphaël, Eliott, Noé camera rental PLANIPRESSE sound rental LA PUCE A L’OREILLE photographic laboratory GRANON DIGITAL sound editing and mixing studio LA PUCE À L’OREILLE digital laboratory HIVENTY insurance GRAS SAVOYE bank NEUFLIZE OBC –MICHÈLE GALLEGO –SOPHIE MINET credits AMÉLIE VAPPEREAU poster FRÉDÉRIC ARHANCHIAGUE et LAËTITIA LAGACHE Agnès Varda film excerpts Uncle Yanco © Agnès Varda et enfants 1994 Cléo de 5 à 7 © Agnès Varda et enfants1994 Daguerréotypes © Ciné Tamaris 1975 Black Panthers © Agnès Varda 1968 L’une chante l’autre pas © Ciné Tamaris 1976 Sans toit ni loi © Ciné Tamaris films A2 1985 Le Bonheur © Agnès Varda et enfants 1994 Jacquot de Nantes © Ciné Tamaris 1990 Lions love (and lies)© Max Raab - Agnès Varda 1969 Mur murs © Ciné Tamaris 1980 Documenteur © Ciné Tamaris 1980 L’Opéra Mouffe © Agnès Varda et enfants1994 La Pointe Courte © Agnès Varda et enfants1994 Jane B par Agnès V. © Ciné Tamaris 1987 Kung Fu Master © Ciné Tamaris et la sept 1987 Les Cent et une Nuits © Ciné Tamaris et France 3 cinéma 1994 Les Glaneurs et la Glaneuse © Ciné Tamaris 2000 Les Plages d’Agnès © Ciné Tamaris-Arte France 2008 Agnès de-ci de-là Varda © Ciné Tamaris – Arte France 2011 Visages villages (Agnès Varda and JR) © Ciné Tamaris - Social Animals – Arte France Cinema - Rouge International – Arches Films 2017 additional images photographs of Agnès Varda © Agnès Varda and reserved rights photographs of Agnès Varda and JR © Faces Places 2017 Death and the Maiden painting – Hans Baldung Grien 1517 polyptych Jan Van Kessel – L’Europe - 1664 –1666 excerpt of the film Le Bonheur -Thema Varda (ARTE France) archives INA © INA Andy Warhol © Ewa Rudling excerpt of an interview of Agnès Varda about la Pointe Courte with the courtesy of Criterion Collection. © 2007 The Criterion Collection J’ai mal partout © J. J. Sempé Dessin published in the album Beau Temps (Éditions Denoël) L’Île et Elle - 2006 La Grande Carte Postale, Le Passage du Gois, La Cabane de l’Echec,Ping Pong, Tong et Camping, Les Veuves de Noirmoutier, Le Tombeau de Zgougou,Le Triptyque de NoirmoutierFondation Cartier pour l’Art Contemporain La Cabane du Chat–2016Permanent installation at theFondation Cartier pour l’Art Contemporain Bord de Mer–2009CRAC Centre régional d’art contemporain Languedoc –Roussillon à SèteTriptyques atypiques–2014Marie dans le vent, Jeune Fille à la Tourterelle, Alice et les vaches blanchesGalerie Nathalie Obadia La Cabane du Bonheur –2018Galerie Nathalie Obadia Paroles de Squatteurs –2013Le Voyage à NantesHommage aux Justes de France–2007CNAP -Ministère de la Culture et de la Communication Patatutopia –2003Utopia StationVenice Art Biennialadditional musics 34“La Merula” de Tarquino Merula, Ensemble Suonare e Cantare –CD Pierre Verany “Merula -Madrigali e Altre Musiche Concertate...” –PV700024–℗ARION 2000with the courtesy of Arion Music, Paris -France«Sans toi –play-back, arrivée à Montsouris»lyrics Agnès Varda, music MichelLegrand© WARNER CHAPPELL MUSIC France andEMI MUSIC PUBLISHING Franceexcerpt of the film «Cléo de 5 à 7»℗WARNER CHAPPELL MUSIC France and EMI MUSIC PUBLISHING France«Les Glaneurs et la Glaneuse»music by Joanna Bruzdowicz© Ciné Tamaris« Thème guitare et violoncelle» music by Joanna Bruzdowicz© Ciné TamarisVisages Villages(-M-)© Labo M Editions℗2017 Labo Macoproduction ofCINÉTAMARISproducerROSALIE VARDAproduction managerCECILIA ROSEadministratorERIC LEPRÊTREwith ARTE Francecultureand society unitFABRICEPUCHAULThead ofprogramsKARENMICHAELadministratorFRANÇOISETSITSICHVILIpost-production managerRACHEL ANQUETILinternational salesmk2 filmsvarda par agnès©ciné tamaris –arte france–hbb26–scarlett production –mk2 films –2019

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