In 1965, Pierre. Paul. In his essay "Poetic Cinema", Pasolini made the idea that cinema can depict multiple subjectivities according to the needs of narrative and inner symbolism, which allows any viewer to obtain a high degree of self-experience. Agnès. Varda's work and theories are probably the perfect interpretation of "poetic film".
The German writer Heidegger once said a classic sentence: "The essence of life is poetic, and man should poetically inhabit the earth." At that time, when I watched Agnès's films, I only felt that her films were an expression of emotion, and later, when I admired Agnès again, I suddenly felt that her films were poetry.
She is not a film that is good at storytelling, and in her films we can see the structure of poetry, the imagery of poetry, and the freedom of poetry. From these interpretable poems, we can clearly see Agnès's departure from the narrative tradition and the pursuit of immortal poetry.
One of the characteristics of poetry is the use of condensed language to express infinite meaning, and poetry itself is a highly abstract art form. Agnès' extraction and collage of materials permeate almost all of her work. Perhaps, in Agnès's view, cinema can only reach immortality if it transcends its original traditions and styles.
In 2008, "Agnès's Beach" was released, a film directed by Agnès Agnès. Varda's autobiography. Taking the city as a clue, she walked through Belgium, through Set, through Los Angeles, through Venice Beach, through Namfa Nomuti Island, back to her hometown, back to the filming location, back to the place where she fell in love with her husband, and the film recreated Agnès's life in a reconstructed and patchwork way.
"Agnès's Beach" is a peculiar film, Agnès said of the film: "In this movie, there is my love, there are my memories, there is my youth, and there is my nostalgia. It's not just a simple documentary, in a way, it's a summary of my life. ”
Agnès focuses her lens on herself, she is both the creator of the film and the protagonist of the film, which also contributes to the style of the film, which is as warm and playful as she is. In the movie, the heroine Agnès always keeps going backwards, and as she goes, she says: "I play an old lady here, slightly fat, who loves to talk and laugh, and tells you about her life." ”
Her story begins with the beach where she has regressed, she places mirrors with different styles on the beach, the beach and the waves are refracted from all angles, in this reflection of the virtual and the real, the true and the false, Agnès. Varda and everything related to her went to immortality.
<h1 class= "pgc-h-center-line" > the immortality of memory</h1>
<h1 class = "pgc-h-center-line" > memories are like flies, dancing in the air, jumping little by little. </h1>
Agnès uses reset memories to take the viewer to her childhood, and the story begins with that nostalgic seaside. She stood by the sea to tell the story of her family, and her voice, like the waves, came from afar, stayed for a short time, and went to the far side. Sea breezes, waves, faded photographs, piece together memories.
Walking barefoot on the beach, Agnès tells the memories of childhood, the childhood games in the memory, the days with his brothers and sisters, the experiences and experiences of growing up. Those precious old photographs are scattered on the beach, and these most important fragments of life, like children's random discarded toys, are trapped in the soft mud and sand, and then carefully placed in the picture frame.
The film is full of a carefree cheerfulness, and when Agnès takes her children to dance and play on the beach, her happiness and satisfaction are self-evident. As an eighty-year-old, she seems to have looked down on everything, and it's hard for me to feel the mood swings in these fragments. This is a little different from what I thought.
I always feel that older people will have a lot of sadness and regret when they reminisce about the past, but Agnès gives me the feeling of a calm narrative, maybe it is nature, or maybe the wisdom that the years have given her. These childhood scenes replayed by children may be true, or they may only be Agnès's imagination.
I don't know anything about her past, but I believe that in the empire of images she constructed, all the resetting of memory points to one purpose—the complete and poetic formulation of the narrative. The intermingling of these shots is a poetic dream. In front of the child, Agnès finally returned to his childhood.
She looked at the distant coastline with a dashing look, all the past was staged in her imagination, and the years could not take away all her traces, because those stories had long since become memories, and the memories had long been frozen in the images, going to immortality.
<h1 class = "pgc-h-center-line" > the immortality of life</h1>
<h1 class= "pgc-h-center-line" > imagine yourself as a child, like running backwards. Imagining yourself getting old is funny, like a meat joke. </h1>
Who is Agnès?
Director, cinematographer, installation artist, feminist, mother, wife, grandmother.
Each identity is an experience for Agnès, a feeling like in The Fantasy Drift of The Young Pi: If every transformation we experience in our lives takes us further in life, then we truly experience what life wants us to experience.
"Short Corner Love Affair" is the first film shot by Agnès, which was shot before the start of the New Wave, and the special time made this film a classic in the hearts of film youth. Even the film historian George W. Bush. Sadur also praised the film: "The first masterpiece of the New Wave." For this reason, Agnès is also known as the "Grandmother of the New Wave."
And now, the film youth of yesteryear has come to an end one after another, Agnès. As a symbol, Varda has reappeared in the eyes of fans. The same hairstyle, soft cotton shirt, barefoot walking on the beach, occasional silence, occasional dancing, occasional fragmentations.
Sitting in a studio surrounded by discarded film film, she said, "Here, I feel like I'm living in a movie." And I would say, there, that her life is immortal. Although he is an elderly man, Agnès under the lens is still in good spirits.
In her own films, Agnès has an extraordinary desire to express, she talks about movies, art, paintings, life, others, history, she can always make accurate and interesting interpretations of her own views. She has a natural sense of humor, and to understand Agnès, you need to understand her sense of humor.
Valuablely, her sense of humor has been engraved into her life, and in her autobiography, we don't see any regrets, any sentimentality, which is why Le Monde said of her: "Varda picked up a personal moment, but touched everyone." ”
<h1 class = "pgc-h-center-line" > the immortality of love</h1>
<h1 class = "pgc-h-center-line" > all deaths lead me to Jacques, every tear, every bouquet of flowers, every rose, every begonia, is a flower dedicated to Jacques. </h1>
"We share a bed, a house, a garden, small children..."
"Let's go on a trip together and linger together in front of a painting..."
In the film, Agnès tells the story of her relationship with her husband and friend Jacques. When Demi's nostalgia, my mind always hovers with such a passage: no matter how the world changes, people always have a good life. The emperor turned Xiang gong fame and fortune into dust. The lament of the writer is remembered and thus immortalized. The wind flower snow moon is immortal, and the pine blossom wine and spring water tea are immortal.
The immortal wind flower Snow Moon comforted Agnès for the second half of her life when she picked up Jacques. When Demi's picture comes, she is not yet sentimental, but I am already in tears. In the photo, the young Jacques. Demi is handsome and handsome, Agnès. Varda is weird, and unfortunately the person who loves each other is difficult to whitehead. Jacques. After Demi's death, she saw Jacques at the flea market. Demi's film card, in this silent, invisible expression, her sadness spread out in an instant.
No more Jacques. Demi's Agnès cares so much about her family that she invites her to join her film, where adults stand in a row by the sea, children run and play around, and Agnès stands by, freezing these happiness. Because she knows that some memories cannot be taken away, and only by fixing them can they become eternal.
In the second half of the film, there is such a clip, Jacques. When Demi handed Agnès the manuscript about "childhood", he said: "I don't have the strength to shoot it, you do it." Agnès said: "Would you be happier if I made this movie about your childhood?" "Jacques. Demi said, "Yes. ”
Ten days after the shooting was completed, Jacques. Demi died. Since then, Agnès has lived alone.
Back on the beach of memory, Agnès begins to reminisce about the past. Remembering the people she once loved, remembering the people who loved her, those nostalgia strung together into a deep affection, which was Agnès's tender cherishing of life, a woman's immortal love.
She brings her magical creation to the beach, where her love of installation art is completed, in a mirror space where different perspectives reflect different landscapes, and what remains unchanged is the immortality of the image. These large and small mirrors, independent of each other, and overlap each other, this illusion, like people's extraction of memory, is not complete, not precise enough, but it has existed.
As a documentary with a subjective narrative, Agnès tells his life, with all his past experiences embedded in the camera. Many times, Agnès extracted these fragments and displayed them one by one like slides in front of the audience, perhaps as real displays, perhaps as interesting patchwork, or with fantasy and fiction. In short, this was Agnès' life.
At the end of the film, we can see a studio made of film, and the gentle film swings in the wind. The sunlight came in obliquely, warm and bright. Agnès stood there, breathtaking. Those traces of serious life are forever left on "The Beach of Agnès", becoming an immortal being in the depths of time.
Nothing is immortal, including art itself. The only thing that is immortal is the understanding of people and the world that art conveys. - Van Gogh