It’s the fourth of July, and what better way to celebrate than to watch some French films? (Can I get arrested somewhere in America for saying that?)
I admit, there’s a personal bias for my recommendation. I had a baby last week (!) and we decided to name him after Agnès Varda, the innovative, one-of-a-kind 81-year old filmmaker who was profiled this weekend in The New York Times. (Okay, my new kid’s name is not Agnès – his middle name is Varda. Here’s to the 21st Century wherein a boy can be named after a female director.) The article celebrates the opening this week of THE BEACHES OF AGNÈS, a self portrait documentary that recently won the César (the French equivalent of an Oscar). The film has a limited theatrical release but will eventually be available on DVD.
If you’ve never seen any Varda films, there is a wealth of excellent material. My most enthusiastic recommendation is for the New Wave’ classic, CLÉO FROM 5-7 (1962), wherein protagonist Cléo (the exquisite Corinne Marchand) lives out two hours moment to moment on the screen.
The event that kicks the clock in to gear is a visit to a psychic, where Cléo learns the results of a biopsy, according to the tarot cards, are certain to bring a diagnosis of terminal cancer. She subsequently wanders around Paris, burning time until her doctor’s appointment at seven p.m., when she will learn the truth. The material is beautifully layered – in place of a traditional plot, there are patterns of visual repetition, gorgeously framed photography, a Michel Legrand score, and beautiful documentary footage of Paris. Here are the first ten minutes:
Another favorite is THE GLEANERS AND I (2000), a recent documentary in which the filmmaker is a featured character. This time, Agnès explores the act of ‘gleaning,’ or stooping down to collect — and follows individuals ranging from an urban man picking up discarded food from an outdoor market, to artists collecting and using ‘junk,’ to the filmmaker herself, gathering and assessing objects and reflecting on aging, amongst other topics. Varda’s camera and overall approach humanizes an activity and individuals who might be otherwise reviled … and shows us her unique aesthetic and way in which to view the world. The first ten minutes are here (sorry, can’t embed this video).
You’ll see a distinct relationship between this beginning and the first minutes of Cléo – distinctly, beautifully Varda. Happy Fourth!
–AH
