Agnès Varda - Wikipedia

4/6/2019 Agnès Varda - Wikipedia
Agnès Varda
Agnès Varda (French: [aɲɛs vaʁda]; 30 May 1928 – 29 March 2019) was a
Agnès Varda
French film director, photographer and artist. Her work was pioneering for,
and central to, the development of the widely influential French New Wave
film movement of the 1950s and 1960s.[1] Her films focused on achieving
documentary realism,[2] addressing feminist issues, and/or producing other
social commentary, with a distinctive experimental style.
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 the real
thing. Her use of non-professional actors was also unconventional in the
context of 1950s French cinema.[1] Among other awards and nominations, she
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.
Varda at the Berlinale, February

2019
Contents Born Arlette Varda
Early life 30 May 1928
Photography career Ixelles, Brussels,
Filmmaking career Belgium
La Pointe Courte (1954) Died 29 March 2019
Cléo from 5 to 7 (1961) (aged 90)
Later career Paris, France
Vagabond (1985)
Occupation Director,
Jacquot de Nantes (1991)
The Gleaners and I (2000) screenwriter, editor,
Faces Places (2017) actor, producer,
installation artist,
Style and influences
Involvement in French New Wave photographer
As a feminist filmmaker Years active 1951–2019
Personal life and death Notable work La Pointe Courte
Awards and honors (1955)
Filmography Cléo from 5 to 7
Feature films
(1961)
Short films
Television work Vagabond (1984)
Publications The Gleaners and I
See also (2000)
References Faces Places
(2017)
https://en.wikipedia.org/wiki/Agnès_Varda 1/14
Further reading
Spouse(s) Jacques Demy
External links (m. 1962;
died 1990)
Children Rosalie Varda
Early life Mathieu Demy
Varda was born Arlette Varda on 30 May 1928 in Ixelles, Brussels, Belgium,
to Christiane (née Pasquet) and Eugène Jean Varda, an engineer.[3] 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. During World War II, she lived on a boat in Sète with the rest of her family. Varda attended the
Lycée et collège Victor-Duruy, and received a Bachelor's degree in literature and psychology from the Sorbonne.[4] 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."[5]
Photography career
Varda intended to become a museum curator, and studied art history at the École du Louvre,[4] but decided to study
photography at the Vaugirard School of Photography instead.[5] 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. However, 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."[6]
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."[6] 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.[4] 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.[5]
Varda's still photography sometimes inspired her subsequent motion pictures.[7] 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.[6]
Filmmaking career
The beginning of Varda's filmmaking career pre-dates the start of the French New Wave, but contains many elements
specific to that movement.[8]: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.[9]
La Pointe Courte (1954)

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.[10] 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.[11]
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."[5] 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."[12] François Truffaut called it "an experimental work, ambitious, honest and intelligent."[13] 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." However the film was a financial failure, and Varda made only short films for the next seven
years.[5]
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.[14] 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".[15]
Cléo from 5 to 7 (1961)

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.[5]
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.[16] 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. Although many believe that the 90-minute film represents the diegetic
action which occurs between 5 p.m. and 7 p.m. in real time, there is actually a half-hour difference.[11]
Later career
In 1977, Varda founded her own production company, Cine-Tamaris, in order to have more control over shooting and
editing.[17] 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.[18]
Vagabond (1985)
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.[19]
Jacquot de Nantes (1991)

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.[16]
The Gleaners and I (2000)

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.[20]
Faces Places (2017)

In 2017, Varda co-directed Faces Places with the artist JR. The film was screened out of competition at the 2017 Cannes
Film Festival[21][22] where it won the L'Œil d'or award.[23] 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.[24] 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."[25][26]
Style and influences

Many of Varda's films use protagonists that are marginalized or rejected
members of society, and are documentary in nature. She made two short films
on the Black Panthers (Huey and Black Panthers) after seeing that their
leader, Huey Newton was arrested for killing a policeman. The films focus was
upon the demonstrations which people led in support of Newton and the "Free
Huey" campaign.[27]
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").[8]:12 Rather than separating the fundamental
roles that contribute to a film (such as cinematographer, screenwriter, and Varda receiving an honour at the
director), Varda believed that all roles should be working together Guadalajara International Film
Festival in 2010
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.[28]
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.[8]: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.[8]:15
Many of her influences were artistic or literary, including Surrealism, William Faulkner, Franz Kafka, and Nathalie
Sarraute.[8]:6, 12, 106
Involvement in French New Wave

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 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 the New
Wave itself was considered experimental in its treatment of traditional methodologies and subjects.[29]
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."[30]:6
As a feminist filmmaker
Varda's work is often considered feminist because of her use of female protagonists and her creation of a female cinematic
voice.[17] Varda is quoted 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."[5]: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.[31][32]
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.[30]
Personal life and death

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.[33] Demy legally adopted Rosalie Varda.[16] Varda worked on the
Oscar-nominated documentary Faces Places with her daughter.[25]
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.[34]
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.[35][36]
Varda died from cancer on 29 March 2019 in Paris, at the age of 90.[37][38] She was buried at Montparnasse Cemetery on 2
April.[39][40] Among those who attended her funeral were Catherine Deneuve, Julie Gayet, Sandrine Kiberlain, Jacques
Toubon, and Macha Meril.[41]
Awards and honors

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.[42][43] In 2002 she was
the recipient of the French Academy prize, René Clair Award.[44] On 4 March
2007, she was appointed a Grand Officer of the National Order of Merit of
France.[45] On 12 April 2009, she was made Commandeur de la Légion
d'honneur.[46] In May 2010 Varda received the Directors' Fortnight's 8th
Carosse d'Or award for lifetime achievement at the Cannes Film Festival.[47]
On 22 September 2010, Varda received an honorary degree from Liège
Varda's handprints at Cannes
University Belgium.[48] On 14 May 2013, Varda was promoted to Grand Cross
of the National Order of Merit of France.[45] On 22 May 2013, Varda received
the 2013 FIAF Award for her work in the field of film preservation and restoration.[49] On 10 August 2014, Varda received
the Leopard of Honour award at the 67th Locarno Film Festival.[50] She was the second female to receive the award after
Kira Muratova.[51] On 13 December 2014, Varda received the honorary Lifetime Achievement Award, presented by the
European Film Academy.[52] On 24 May 2015, Varda received an honorary Palme d'Or. She was the first woman to receive
an honorary Palme d'Or.[53] On 16 April 2017, Varda was promoted to Grand officier de la Légion d'honneur.[54] Varda
was included in Cinema Eye's 2017 list of "Unforgettables."[55]
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.[56][57][58] 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).[59]
For the 1985 documentary-style feature film Vagabond, she received the Golden Lion of the 42nd Venice International
Film Festival.[60] In 2009, The Beaches of Agnès won the Best Documentary Film award at the 34th César Awards.[61]
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.[62]
Filmography
Feature films
Varda speaking at a retrospective

series of her work at the Harvard
Film Archive
Year Original title[63] 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 Happiness 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
Director, Writer, Producer,
2000 Les Glaneurs et la glaneuse The Gleaners and I
Editor
Les Glaneurs et la glaneuse... deux ans The Gleaners and I: Two Years
2002 Director, Editor
après Later
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
Year Original title[63] English title Credits
Director,
1958 L'opéra-mouffe Diary of a Pregnant Woman
Writer
Director,
1958 La cocotte d'azur -
Writer
Director,
1958 Du côté de la côte Along the Coast
Writer
Director,
1958 Ô saisons, ô châteaux -
Writer
Les fiancés du pont MacDonald ou (Méfiez-vous Director,
1961 -
des lunettes noires) Writer
1963 Salut les cubains - Director, Star
Director,
1965 Elsa la rose -
Writer
Director,
1967 Oncle Yanco Uncle Yanco
Writer, Star
1968 Black Panthers Black Panthers Director
1968 Huey Director
Director,
1975 Réponse de femmes: Notre corps, notre sexe Women Reply
Writer, Star
Director,
1976 Plaisir d'amour en Iran -
Writer
Director,
1984 Les dites cariatides The So-Called Caryatids
Writer, Star
Director,
1984 7p. cuis., s. de b., ... à saisir -
Writer
You've Got Beautiful Stairs, You Director,
1986 T'as de beaux escaliers, tu sais
Know Writer
Director,
1982 Ulysse Ulysse
Writer, Star
Director,
2003 Le lion volatil -
Writer
Director,
2004 Ydessa, les ours et etc. Ydessa, the Bears and etc.
Writer
Venice International Film Festival Director,
2004 Der Viennale '04-Trailer
2004 - Trailer Writer, Star
Director,
2005 Les dites cariatides bis -
Writer
Cléo from 5 to 7: Remembrances
2005 Cléo de 5 à 7: souvenirs et anecdotes Director
and Anecdotes
Director,
2015 Les 3 Boutons The Three Buttons
Writer
Television work
English
Year Original title[63] Credits
title
1970 Nausicaa (TV movie) - Writer, Director
1983 Une minute pour une image (TV documentary) - Director
P.O.V., episode 3, season 23, The Beaches of Director, Writer, Producer,
2010 -
Agnès Cinematographer
Agnès de ci de là Varda, 5 episodes (TV
2011 - Director, Writer, Actor
documentary)
Publications
(All in French.)
Les Plages d'Agnès: texte illustré du film d'Agnès Varda, collection Mémoires de César, éditions de l'Œil, 108 pp.
(2010) OCLC 642213101 (https://www.worldcat.org/oclc/642213101) ISBN 2351370872
L'île et elle: Agnès Varda, Actes sud, 81 pp. (2006) OCLC 2742762086 (https://www.worldcat.org/oclc/2742762086)
ISBN 9782742762088
Sans toit ni loi: un film d'Agnès Varda, L'Avant-scène Cinéma, 92 pp. (2003) OCLC 2847250220 (https://www.worldca
t.org/oclc/2847250220)[64]
Varda par Agnès, Les Cahiers du Cinéma (1994, reprint 2005) OCLC 2866421450 (https://www.worldcat.org/oclc/286
6421450) ISBN 9782866421458
La Côte d'Azur, d'azur, d'azur, d'azur, collection Lieu-dit, Les éditions du Temps (1961) OCLC 9817787 (https://www.w
orldcat.org/oclc/9817787)[65]
See also
Alice Guy-Blaché
References
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shtml). www.newwavefilm.com. Retrieved 2019-04-01.
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-renoir-award). www.wga.org. Retrieved 2019-04-01.
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(https://variety.com/2017/film/awards/agnes-varda-faces-places-governors-awards-2017-1202606838/). Variety.
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29 October 2014.
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www.lacma.org. Retrieved 24 October 2014.
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20. Cruickshank, Ruth "The Work of Art in the Age of Global Consumption: Varda's Les Glaneurs et la glaneuse." L'esprit
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65. "Agnès Varda, Professor of Film at The European Graduate School / EGS" (https://egs.edu/faculty/agn%C3%A8s-var
da). European Graduate School. Retrieved 30 March 2019.
Further reading
Neupert, Richard John (2007). A History of the French New Wave Cinema (https://uwpress.wisc.edu/books/4192.htm)
(2nd ed.). Madison, Wis.: University of Wisconsin Press. ISBN 9780299217044. OCLC 538539415 (https://www.world
cat.org/oclc/538539415).
Schwartz, Alexandra (4 March 2018). "Agnès Varda Is Still Going Places" (https://www.newyorker.com/culture/person
s-of-interest/agnes-varda-is-still-going-places). The New Yorker. ISSN 0028-792X (https://www.worldcat.org/issn/0028
-792X). Retrieved 17 April 2018.
Conway, Kelley (2015). Agnes Varda (Contemporary Film Directors). University of Illinois Press. ISBN 025208120X.
DeRoo, Rebecca J. (2018). Agnes Varda between Film, Photography, and Art. University of California Press.
ISBN 9780520279407.
External links
Agnès Varda (https://www.imdb.com/name/nm0889513/) on IMDb
Ciné-Tamaris. Official Site Agnes Varda and Jacques Demy (https://web.archive.org/web/20090303153940/http://cine
-tamaris.com/intro.php)
Watch 17 films of Agnes Varda at www.dafilms.com (http://dafilms.com/director/8991-agnes-varda/)
Biography on newwavefilm.com (http://www.newwavefilm.com/french-new-wave-encyclopedia/agnes-varda.shtml)
Agnès Varda last home in Paris + list of related articles (http://www.lefigaro.fr/cinema/agnes-varda-etait-tres-mignonn
e-dans-la-rue-daguerre-a-paris-ses-voisins-se-souviennent-20190329) (in French)
(https://www.lemonde.fr/disparitions/video/2019/03/29/mort-d-agnes-varda-mon-travail-n-est-pas-dans-l-ombre-mais-
dans-la-discretion_5443092_3382.html)Le MondeObituary (https://www.lemonde.fr/disparitions/video/2019/03/29/mor
t-d-agnes-varda-mon-travail-n-est-pas-dans-l-ombre-mais-dans-la-discretion_5443092_3382.html) at Le Mon[1] (http
s://www.lemonde.fr/disparitions/video/2019/03/29/mort-d-agnes-varda-mon-travail-n-est-pas-dans-l-ombre-mais-dans-
la-discretion_5443092_3382.html)de (video)
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4/6/2019 Agnès Varda - Wikipedia

Varda's work employed location shooting in an era when the limitations of

Varda at the Berlinale, February

She later recalled another example:

La Pointe Courte (1954)

Cléo from 5 to 7 (1961)

Jacquot de Nantes (1991)

The Gleaners and I (2000)

Faces Places (2017)

Style and influences

Involvement in French New Wave

Personal life and death

Awards and honors

Varda speaking at a retrospective

Year Original title[63] English title Credits

1955 La Pointe Courte — Director, Writer

Year Original title[63] English title Credits

9. Heti, Sheila. "Agnès Varda [FILMMAKER]" (http://www.believermag.com/issues/200910/?read=interview_varda).

Retrieved from "https://en.wikipedia.org/w/index.php?title=Agnès_Varda&oldid=891198993"

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