The French New Wave of Cinema is known as the third film movement with world influence after European avant-garde and Italian Neorealism, and the essence of this movement is a movement that requires the complete transformation of film art in the spirit of modernism, and its emergence pushed the modernist film movement in Western Europe to a climax.
Godard, Pasolini, and others
When it comes to the French New Wave, we will naturally jump out of the memory of film history Godard, Aaron Renai, Truffaure and others, but among the many New Wave directors, there is a female director who is known as the grandmother of the New Wave, and she is Agnes Varda.
Agnès Varda
On March 29 of last year, Agnès Varda passed away, and her posthumous work "Agnès on Varda" (hereinafter referred to as "A") records her film lectures in various places, and is also a review of the works she shot in her creative career.
Varda says "inspiration, creation, sharing" is what led her to work in film for so many years. In "A", she recalls some of the inspiration for filming.
The protagonist of "The Whisper of the Wall"
Because of Varda's name, he made the short film "Uncle Janko" (1967); because of the cultural and turbulent 60s in the United States, he filmed the film "Lion, Love, Lie" (1969) and the short documentary "Black Panther Party" (1968); because of his curiosity about the graffiti on the wall in Hollywood, he filmed "The Whisper of the Wall" (1981), because of his observation of street wanderers, he filmed "The Fallen Woman of the End" (1985, A total of 13 right-to-left push-track shots are used throughout the film; because he met different "stoopers" in his life, he shot "The Gleaner" (2000).
Varda's husband, Jacques Demi, began to reminisce about the past when he felt that his body was getting worse than a day, so Varda made a biographical film about Jacques, Jacques de Mi in Nantes, which was shot in three different ways, black and white in the 1930s, excerpts from Jacques's works in color, and a large close-up of the end of his life at the end of his life. After the death of her husband Jacques, the documentary "The World of Jacques Demi" was filmed in 1995 to express his longing for her husband. In 2008, at the age of 80, she feared the end of her "life" and filmed "The Beach of Agnès", looking back on the journey of her life's video.
Varda was an obvious feminist. In 1971, she and many French women bravely signed the 343 Declaration to promote the legalization of abortion in France. In 1975, "Women's Voices: Our Body, Our Sex" was filmed; in 1977, "One Sing, One Doesn't Sing", which set the characters as a rebellious woman and a woman who was pregnant and could not have an abortion. When her best friend told her that she was about to turn forty, she didn't hesitate to say that it was a good time, so the two collaborated on "Master of Kung Fu" (1987) and self-portrait "A Thousand Faces of Treasure Gold" (1988).
Documentary "Face, Village"
After the 21st century, Varda's films began to experiment with artists. In 2003, he created "Potato Utopia", which brought "heart-shaped" potatoes to life and placed 700 kilograms of potatoes on the exhibition site; in 2005, he created "The Widow of Nuwamtier", which photographed 14 widows on an island, and at the time of the exhibition, 14 people were interviewed and placed around the screen, without subtitles, translated into various languages around the world, and visitors needed to wear headphones to enhance privacy; in 2017, he collaborated with french street art JR to shoot "Faces, The two men travel through Villages in JR"," a small van made by JR, photographing the people they met along the way, and pasting photos on the wall to show respect for ordinary workers in different industries, and the most interesting thing is that at the end of the film, Godard deliberately left two lines of code words to "break the contract" with Varda.
Jr commemorates the first anniversary of Varda's death
From her debut novel "Short Horn Love Affair" in 1955 to the famous work "Chio at Five to Seven" in 1962, and then to the posthumous work "Agnès on Varda", Varda's works have always expressed her observation of life, a film language between fiction and reality, expressing people's perception of real life. She has always kept a doll, 80 years old afraid of "ending", 90 years old has no care, nearly a century of life course like a spring breeze, although it has come to an end, but the memory of light and shadow left to us has never stopped.
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