The departure of Agnès Varda is self-evident in the shock of the film industry.
Agnès Varda
She is revered as the "Grandmother of the New Wave", as early as 1955, the New Wave was still "swaddling", Varda sold her property, borrowed a loan and took the camera to "play" and wrote and directed "Short Corner Love", with the result that she left more than ten years of debt for herself.
Regardless of the debut, the act itself formed part of the New Wave movement, which broke the "directorial qualification system" and became synonymous with young directors around the world who broke away from studios and explored new audiovisual languages and techniques for film.
Agnès Varda on his back
The two-line narrative opened in "Short-Horned Love Affair" and even the mature film narrative structure such as multi-line narrative and flashback after that make the "film structure" really become part of the narrative. That poetic dialogue, handheld photography, long shots, soundtrack that complements the mood of the film... It profoundly influenced the filmmaking of the New Wave, especially the Left Bank.
And even to this day.
Agnès Varda was the only woman in the New Wave "Eight Samurai". Her work has been labeled as "New Wave", "Authorship", "Feminism" and so on. Her images are dashing and gentle, experimental and documentary.
But Agnès Varda no longer needs any labels, and her creation runs through the life of this lovely grandmother, she is gone, but her images never leave.
Agnès Varda said: Film can extend the still, frozen picture to the past, the future and the imagination through the transition of the camera. Her films are even made up of photographic freeze-frames—experiments, but also historical murmurs and reflections.
Then we can also go back to Varda from the freeze frame of her images and remember Varda.
(All non-Varda videos below)
The Short Horn Affair 1955
Seasons and Castles 1958
Into the Côte d'Azur, 1958
The Opera of Mu Fu, 1958
Varda loves close-ups of spots like eyes and toes
Appearing in many films is the manifestation of "self-awareness"
The Fiancee on mcDonald's Bridge, 1961
Cleo at Five to Seven, 1962
Varda was accustomed to using mirror images to show the awakening of women's self-consciousness
Escape from Vietnam, 1967
The film marks a shift towards micropolitics in radical political cinema on the European continent
The Lion, the Love, the Lie, 1969
Greetings to the Cubans, 1971
One of Varda's first films to make a direct political statement
Women's Voices: Our Bodies, Our Sex, 1975
One Sings, One Doesn't Sing, 1977
Use "singing" as a representation of feminism
The Murmur of the Wall, 1981
Intertextuality with Faces, Villages
Ulysses 1982
One Minute, One Image, 1983
Varda's stop-motion feature film
The Story of an Old Lady, 1984
The Fallen Woman of the End of the World, 1985
A Thousand Faces, Treasure Gold, 1988
Jacques Demi of the South, 1991
Such a birthday gift is too romantic to tears, go to heaven or a pair of beautiful people
101 Nights, 1995
The Gleaner 2000
The Flying Lion 2003
Edith, Bears and Others 2004
The Beach of Agnès 2008
Faces, Villages 2017
Agnès on Varda 2019
The film will be screened at the Shanghai Film Festival
Written in the last wish: the hope that Godard will live forever.
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