Agnès Varda[a] (bornArlette Varda; 30 May 1928 – 29 March 2019) was a Belgian-born French film director, screenwriter and photographer.[1]
Varda's work employedlocation 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 wasLa Pointe Courte (1955), followed byCléo from 5 to 7 (1962), one of her most notable narrative films,Vagabond (1985), andKung Fu Master (1988). Varda was also known for her work as a documentarian with such works asBlack Panthers (1968),The Gleaners and I (2000),The Beaches of Agnès (2008),Faces Places (2017), and her final film,Varda by Agnès (2019).
Varda was born Arlette Varda on 30 May 1928 inIxelles, Brussels, Belgium, to Christiane (née Pasquet) and Eugène Jean Varda, an engineer.[4] Her mother was fromSète, France, and her father was a member of a family of Greek refugees fromAsia Minor in theOttoman Empire. She was the third of five children. Varda legally changed her first name to Agnès at age 18.[5][6]
She left Belgium with her family in 1940 for Sète, where she spent her teenage years and duringWorld War II, she lived there on a boat with her family.[6] Here started her life-long friendship with the sculptorValentine Schlegel.[7]
Varda studied art history at theÉcole du Louvre and photography at theÉcole des Beaux-Arts, before working as a photographer at theThéâtre National Populaire in Paris.[6] Varda attended theLycée et collège Victor-Duruy, and received a bachelor's degree in literature and psychology from theSorbonne.[8] She called her relocation to Paris "truly excruciating", saying it gave her "a frightful memory of my arrival in this grey, inhumane, sad city." She did not get along with her fellow students and called classes at the Sorbonne "stupid, antiquated, abstract, [and] scandalously unsuited for the lofty needs one had at that age."[9]
Varda intended to become a museum curator, and studied art history at theÉcole du Louvre,[8] but decided to study photography at theVaugirard School of Photography instead.[9] She began her career as a still photographer before becoming one of the major voices of theLeft Bank Cinema and theFrench 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."[10][11]
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."[10] In 1951, her friendJean Vilar opened theThéâtre 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.[8] 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.[9]
Varda's still photography sometimes inspired her subsequent motion pictures.[12] 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 calledUlysse, which is based on another photograph I took in 1954, one I'd made with the same bellows camera, and I startedUlysse 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 sawBrassaï through the camera with his head at the bottom of the image.[10]
Varda's filmmaking career predates the French New Wave, but contains many elements specific to that movement.[14]: 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 20 films by the age of 25. 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; she said her approach was instinctive and feminine. In an interview withThe Believer, Varda said that she wanted to make films that related to her time (in reference toLa Pointe Courte), rather than focusing on traditions or classical standards.[15]
Varda liked photography but was interested in moving into film. After spending a few days filming the small French fishing town of Sète, in the old fisherman's quarter 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, leaving the artistic direction in the hands of her friendValentine Schlegel.[7] 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.[16] At the time, Varda was influenced by the philosophy ofGaston 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 ofpsychoanalysis of the material world."[17] This idea finds expression inLa 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 andPhilippe 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.[18]
The film was edited by Varda's friend and fellow "Left Bank" filmmakerAlain Resnais, who was reluctant to work on it because it was "so nearly the film he wanted to make himself"; Resnais's 1959 filmHiroshima mon amour would later feature a similar structure. Resnais and Varda remained lifelong friends, though Resnais said they had nothing in common "apart from cats".[9] The film was immediately praised byCahiers 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."[19]François Truffaut called it "an experimental work, ambitious, honest and intelligent."[20] 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] But the film was a financial failure, and Varda made only short films for the next seven years.[9]
Varda is considered the grandmother and mother of the French New Wave.La Pointe Courte is unofficially but widely considered the first film of the movement.[21] It was the first of many she made that focus on issues ordinary people face. Late in her life, she said that she was not interested in accounts of people in power but "much more interested in the rebels, the people who fight for their own life".[22]
AfterLa Pointe Courte, Varda made several documentary short films; two were commissioned by the French tourist office. These include one of Varda's favorites of her own works,L'opéra-mouffe, a film about theRue Mouffetard street market which won an award at the 1958 Brussels Experimental Film Festival.[9]
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, a common trope for Varda.[23] 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 Cléo's ability to strip her body of "to-be-looked-at" attributes (such as clothing or wigs). Stylistically,Cléo from 5 to 7 mixes documentary and fiction, as hadLa Pointe Courte. The film representsdiegetic action said to occur between 5 and 7 p.m., although its run-time is 89 minutes.[18]
Daguerréotypes is a 1976 documentary film directed by Agnès Varda, capturing the lives of shopkeepers and residents along Rue Daguerre, a small street in Paris where Varda lived. The film takes its title from both the name of the street and the term "daguerreotype," reflecting Varda's fascination with preserving fleeting moments in time. Through a series of intimate vignettes, the documentary explores the routines, stories, and relationships of local bakers, butchers, tailors, and other small business owners. With its static camera work and observational approach, the film offers a heartfelt and authentic portrayal of a community rooted in tradition amidst the evolving urban landscape. Widely regarded as a time capsule of 1970s Paris, Daguerréotypes exemplifies Varda's ability to find poetry in everyday life and elevate the mundane into something profoundly human.
In 1977, Varda founded her own production company, Ciné-Tamaris, in order to have more control over shooting and editing.[24] In 2013, theLos Angeles County Museum of Art held Varda's first American exhibition,Agnès Varda in Californialand. It featured a sculptural installation, several photographs, and short films, and was inspired by time she spent in Los Angeles in the 1960s.[25]
Produced by Cine-Tamaris,L'une chante, l'autre pas—otherwise known asOne Sings, the Other Doesn't—focuses on two women over the span of 14 years during the Women's Movement of 1970s France. 22-year-old Suzanne is pregnant with a third child she can not afford. 17-year-old singer Pomme pays for Suzanne to have an abortion. Pomme becomes a pop singer and feminist, forming a group dedicated to women's liberation, while Suzanne raises her children and writes about life on the farm. The story follows the two as they live their separate lives but keep in touch throughout the years.
In 1985, Varda madeSans toit ni loi ("without roof nor law"; known in most English-speaking countries asVagabond), 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 last saw her.Vagabond is told through nonlinear techniques, with the film divided into 47 episodes, and each episode about Mona told from a different person's perspective.Vagabond is considered 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.[26]
Kung-Fu Master! is a 1988 French drama film directed by Agnès Varda. The narrative centers on Mary-Jane, a woman in her forties, who becomes romantically involved with Julien, a 14-year-old boy and classmate of her daughter, Lucy. The film delves into themes of unconventional love, societal taboos, and the loneliness of adulthood, offering a nuanced portrayal of complex human emotions.Jane Birkin stars as Mary-Jane, withMathieu Demy, Varda's son, portraying Julien, and Charlotte Gainsbourg as Lucy, adding depth to the familial dynamics explored in the story. The film's title references Julien's fascination with the arcade game "Kung-Fu Master," which serves as a recurring motif, symbolizing his youthful escapism and the generational gap between the two protagonists.
Kung-Fu Master! was selected to compete for the Golden Bear at the 38thBerlin International Film Festival, highlighting its critical recognition. Although polarizing due to its subject matter, the film remains a bold exploration of taboo relationships and human vulnerability, cementing Agnès Varda's reputation as a fearless storyteller who refuses to shy away from difficult questions.
In 1991, shortly after her husbandJacques Demy's death, Varda created the filmJacquot 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.[23]
Les Glaneurs et la Glaneuse (The Gleaners and I), a documentary, focuses on Varda's interactions withgleaners (harvesters) who live in the French countryside, and also includes subjects who create art through recycled material, as well as an interview with psychoanalystJean 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.[27]
In 2017, Varda co-directedFaces Places with the artistJR. The film was screened out of competition at the2017 Cannes Film Festival[28][29] where it won theL'Œil d'or award.[30] The film follows Varda and JR traveling around rural France, creating portraits of the people they come across. Varda was nominated for theAcademy Award for Best Documentary Feature for this film, making her the oldest person to be nominated for a competitive Oscar.[31] 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."[32][33] The film ends with Varda and JR knocking onJean-Luc Godard's front door in Rolle for an interview. Godard agreed to the meeting but "stands them up".[34]
The last film Varda directed,Varda by Agnes features Varda watching and discussing her films and work. She recounts her 60-year artistic journey through photography and filmmaking. She expresses the importance of three key words: inspiration, creation, and sharing. The film shows Varda sitting and reflecting on the things she loves, such as her husband, cats, colors, beaches, and heart-shaped potatoes.
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 onthe Black Panthers after seeing that their leader,Huey Newton, was arrested for killing a police officer. The film focuses on demonstrations in support of Newton and the "Free Huey" campaign.[35]
Like many other French New Wave directors, Varda was likely influenced byauteur theory, creating her own signature style by using the camera "as a pen". Varda called her method of filmmaking "cinécriture" ("cinematic writing" or "writing on film").[14]: 12 Rather than separating the fundamental roles that contribute to a film (such as cinematographer, screenwriter, and director), she believed that all roles should work 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.[36]
Because of her photographic background, still images are often significant in her films. They 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.[14]: 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.[14]: 15
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 Resnais,Chris Marker,Marguerite Duras,Alain Robbe-Grillet,Jean Cayrol andHenri Colpi. Categorically, the Left Bank side of the New Wave movement embraced a more experimental style than theCahiers du Cinéma group, but this distinction is ironic considering that the New Wave itself was considered experimental in its treatment of traditional methodologies and subjects.[37]
Left Bank Cinema was strongly tied to thenouveau roman movement in literature. The members of the group had in common a background in documentary filmmaking, left-wing politics, 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 often collaborated with each other. According to scholar Delphine Bénézet, Varda resisted the "norms of representation and diktats of production."[38]: 6
Varda's work is often considered feminist because of her use of female protagonists and her creation of a female cinematic voice.[24] She 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."[9]: 1142–1148 Although 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.[39][40] She was also Professor of Film atThe European Graduate School.
Bénézet has argued for Varda's importance as "a woman of singularity" (au feminin singulier), and of the utmost importance in film history. Varda embraced her femininity with distinct boldness.[38]
In 1958, while at a short film festival inTours, Varda met her future husband,Jacques Demy, also a French director.[41] 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 actorAntoine Bourseiller (who starred inCléo from 5 to 7), and a son,Mathieu Demy (born 1972), with Demy.[24] Demy legally adopted Rosalie Varda.[23] Varda worked on the Oscar-nominated documentaryFaces Places with her daughter.[32]
In 1971, Varda was one of the 343 women who signed theManifesto of the 343 admitting they had had an abortion despite it being illegal in France at the time and asking that abortion be made legal.[42] That same year, she was one of only four people to attend the funeral of her friendJim Morrison atPère Lachaise Cemetery.[43]
Varda was the cousin of the painterJean Varda. In 1967, while living inCalifornia, Varda met her father's cousin for the first time. He is the subject of her short documentaryUncle Yanco. Jean Varda called himself "Yanco" and was affectionately called "uncle" by Varda due to their age difference.[44][45]
Her death drew a passionate response from the filmmaking community withMartin 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."[52]Barry Jenkins tweeted, "Work and life were undeniably fused for this legend. She livedfully for every moment of those 90 damn years".Ava DuVernay wrote about her relationship with Varda, ending her statement with "Merci, Agnes. For your films. For your passion. For your light. It shines on." Other filmmakers and artists who paid tribute to Varda includeGuillermo del Toro, theSafdie brothers,Edgar Wright,JR andMadonna.[53]Jean-Luc Godard sent Varda's daughter Rosalie (who producedFaces Places) "a kind of photo collage of Agnès ... It was something special. It's a secret. But he sent me something nice. I think he cared for Agnès a lot. He saw all her films", she said.[34]
Varda has achieved the rare feat of winning the most important accolades: a Hollywood Oscar, a Berlin Bear, a Venice Lion, an honorary Palme from Cannes and several Césars. She has been 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.[54][55] Below is an incomplete list focussing on the major prizes.
Varda's first feature-length filmLa Pointe Courte immediately won her the Prix de l'Âge d'Or in Brussels, Belgium (where she had lived between 1928 and 1940 before her family fled to Sète, where the film is set).
Her second filmCléo from 5 to 7 received much acclaim and nominations, and won two minor awards.
Her third feature filmLe Bonheur (1965) won her a Silver Bear at the Berlin International Film Festival.
In 1984 she received her first of threeCésar Awards for her movie shortUlysse.
In May 2010, Varda received the Directors' Fortnight's 8th Carosse d'Or award for lifetime achievement at theCannes Film Festival.[61]
On 22 September 2010, Varda received an honorary degree fromUniversity of Liège, Belgium.[62]
In 2012 the City of Brussels decides to rename the Ecole de Photographie de la Ville de Bruxelles after her; the official unveiling ofL’Ecole de Photographie et de Techniques Visuelles Agnès Varda is on 2013-09-25.[63]
On 22 May 2013, Varda received the 2013 FIAF Award for her work in the field of film preservation and restoration.[64]
On 10 August 2014, Varda received the Leopard of Honour award at the 67thLocarno Film Festival.[65] She was the second female to receive the award afterKira Muratova.[66]
On 24 May 2015, Varda was the first woman to receive an honoraryPalme d'Or.[68]
On 16 April 2017, Varda was promoted toGrand officier of theLegion of Honour.[69]
Varda was included inCinema Eye's 2017 list of "Unforgettables".[70]
At the time of her death, Varda was the oldest person to be nominated for anAcademy Honorary Award.[71] She received it on 11 November 2017 for her contributions to cinema, making her the first female director to receive such an award.[72][73][74] The prize was presented to her byAngelina Jolie at the9th Annual Governors Awards ceremony. She was nominated two months later for the Academy Award for Best Documentary Feature for her documentaryFaces Places, becoming the oldest nominated person at the show (she was eight days older than fellow nomineeJames Ivory).[75]
In 2017 Varda also wonL'Œil d'or (The Golden Eye, The Documentary Prize - Cannes) forFaces Places.[citation needed]
In 2019 she received a second major award at the Berlin International Film Festival, viz. theBerlinale Kamera.[citation needed]
^abcDarke, Chris. "Agnes Varda."Sight & Sound, vol. 25, no. 4, April 2015, pp. 46–50.Film & Television Literature Index with Full Text, EBSCOhost.
^A particular photo taken by Varda in Portugal in the 1950s inspired the bookA Tale of Two Cities (and a homonymousdocumentary) by historian Steve Harrison (2017).
^DeRoo, Rebecca (2018).Agnes Varda between Film, Photography, and Art. Oakland: University of California Press. pp. 43–45, 88,108–110.ISBN9780520279407.
^Point de Vue [fr], 16 June 2016, « Agnès Varda, la joconde de la rue Daguerre »
^Hayward, Susan. "Beyond the Gaze and Into Femme-Filmécriture."French Film: Texts and Contexts. By Susan Hayward and Ginette Vincendeau. London: Routledge, 2000. 269–80. Print. 8-June-2012
^Cruickshank, Ruth "The Work of Art in the Age of Global Consumption: Varda's Les Glaneurs et la glaneuse."L'esprit Créateur 47.3, (2007): pg. 119–132 Project MUSE. Web. 8-June-2012
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