Word: varda
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Dates: during 2000-2009
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...just under five feet tall, with a head of two-toned—red and white—hair shaped in a severe, down-to-business bob, and a raspy voice characteristic of the French, Agnès Varda is impossible to miss. Besides the fact that she is essentially the only famous female filmmaker to have emerged during the French New Wave in the 1960s—an aesthetic turning point in the history of film when naturalistic settings and real-life plot lines challenged traditional, cheesy Hollywood conventions—Varda is a powerhouse.Varda was celebrated...
...Agnes Varda, herself a widow, is a French photographer and filmmaker whose work forms part of the canon of French New Wave Cinema. In 2005, Varda directed a documentary on the French island of Noirmoutier, “Quelques Veuves de Noirmoutier,” a series of interviews with widowed women. That same footage, displaced and rearranged, makes up the exhibition at the Sert Gallery. In the gallery context, these encounters become at once personal and jarring, an intimate look at women to whom death has brought not only grief but also a new identity...
...Each chair comes with a set of headphones and a written English translation of the interview (originally in French). Arranged in a square, the pattern of the chairs mirrors the display of the interviews on the wall so that one faces the widow head on. It is as if Varda has invited the viewer to the widows’ table, into the secret realities of their daily lives. Varda never appears on the screen when questioning, so as not to disturb the intimate, seemingly direct conversation between viewer and widow...
...Agnes Varda is a French film director, and she and her films are gracing the Harvard Film Archive until the 16th. A different film every night, ranging from Paris in the 1960s in "Cleo de 5 a 7" and "Lions Love" to look at the periphery of modern French life in the documentary "The Gleaners." (See website for showtimes; free for Harvard students...
...Earlier today, at a party for French directors, we ran into Varda, who said of the process: you immediately dismiss most of the films, leaving a half-dozen or so to fight over. By then a few strong personalities have emerged in the Jury's debates. In 1996, over the objections of the majority, two or three members, including director Atom Egoyan, pushed through a Jury Prize citing fellow Canadian David Cronenberg's Crash for "audacity." This year, a couple of those Type-A personalities are said to be clashing. A real tug-of-hair may be in progress. When...