Tagged: Agnès Varda

Varda by Agnès (Varda par Agnès, France 2019)

This film was screened in the Berlinale Out of Competition at the Berlinale Palast. The Brochure commented,

Agnès Varda takes a seat on a theatre stage. The professional photographer, installation artist and pioneer of the Nouvelle Vague is an institution of French cinema but a fierce opponent of any kind of institutional thinking.

And Agnès Varda received a Special Camera Award during the Berlinale.

What is offered is a journey through Varda artistic career, primarily that of film. The approach is partly chronological, partly thematic. Taking account of the changes in the medium the first part treats

‘her analogue period’ from 1954 to 2000 in which the director is in the foreground . . .

In the second part, Agnes focuses on the years from 2000 to 2018, shows how she uses digital technology to look at the world in her own unique way.

She includes her work on installations, and an aside her photographic work.

The film combines a series of illustrated talks by Varda. The opening one is in a palatial opera house remarked on by Varda. Another is a seminar for Higher Education students. In the latter Varda is reading from notes; I do not think this was the case in her talks for the general public. In either case she is articulate, informative, at time ironic, always charming and engaging. And her points are constantly illustrated by extracts from her films, extracts that are well chosen and make the point she is presenting. This is far better done than in some recent television programmes on cinema; and one intelligent head is better than a constant series of ‘talking heads’

One film that receives attention is the first of her features to make a real mark, Cleo from 5 to 7 (Cléo de 5 á 7, 1962). She talks about the making of the film, its star Corinne Marchand and the way in which the film presents ‘real time’. She added an amusing comment, that Andy Warhol remarked that he would have carried on filming to 7 p.m. (the film ends just after 6.30 p.m.). The film was innovative in a number of ways and it is worth noting that here Varda is really part of the Left Bank Group rather than the better-known film-makers of the Nouvelle Vague, In fact Alain Resnais was the editor for her first film La Pointe Courte (1955).

Another film is Vagabond (Sans toit ni loi, 1985). I think this is one of Varda’s finest films and has at its centre a marvellous performance by Sandrine Bonnaire. Her character Mona’s final weeks are reconstructed in the film in a collage of flashbacks and interviews. Varda talked about working with the actress and her contribution. She also talked about the style of the film where repeated tracking shots emphasize Mona’s travels across the countryside. This is a bleak film but one that demonstrates the humanist values that are embodied in all of Varda’s work.

In the digital works one discussed is The Gleaners & I (Les glaneurs et la glaneuse, 2000). The original French title makes the point of the commonality between the film-maker and her subjects. Varda films and interviews many people who ‘glean’ their existence, both in urban areas such as Paris and in rural areas. Varda’s ability to pick up on fresh and unconventional subjects as well as her skill in constructing visual and aural tapestries is exemplified in this film. It is both a moving and fascinating set of portraits.

The Beaches of Agnès (Les plages d’Agnès, 2008) presents recurring settings, images and motifs that appear across her work. Besides the beach we have innumerable mirrors, references and homages to visual art and, a favourite with Varda, cats. She also revisits her first film, La Pointe Courte. In one of those inspired and totally unconventional tropes we watch as people originally involved in the film revisit it as it is projected on a cart that they push through the village.

This was one of Varda’s homes in her younger years and autobiography runs through her talks and the film examples. This includes the films about her one-time partner and fellow film-maker Jacques Demy, as in Jacquot de Nantes (1991).

Towards the end of this film Varda talks about recent work on installations, including the now famous potato [referencing The Gleaners and I at the Venice Film Festival]. There is a section on her work as a photographer, which goes right back to her youth before she took up film. One can see in these examples her fine visual sense.

This is a fine two hour self-portrait full of humour, intelligence and revelations. Born in 1928 in Brussels, at 91, Varda is one of those long-lived European film-makers. She is also one of the most important. She now has 54 credits as a director, plus those as writer, producer, editor and more. [About a third of these are illustrated here]. Her reputation has risen, fallen and risen again. Some of the films presented, such as Black Panthers (1968) have [unfortunately] not been successful. But Varda has continued always to work in her own idiosyncratic way. Now she is an established and revered artistic voice. One aspect of this means that this new film should certainly get a proper British release. I am sure, when it comes, that it will be one of the outstanding experiences in cinemas at that time.

Some Reflections on Agnès Varda and Visages, villages (Faces, places, France 2017)

faces places

Figure 1: Visages villages (2017)

[This review does discuss the film’s events in some detail, including its conclusion.]

Agnès Varda’s latest film, Visages, villages (2017), is a collaboration with the artist-photographer, JR. It brings to life again the cinema she has described herself as a ‘cinéma d’auteur-témoin’, an ambiguous phrase which can be loosely translated as the ‘cinema of the author-as-witness.’ Varda discussed how she felt uncomfortable with the word, ‘auteur’, presumably recognising its cultural resonances in relation to the figure of the filmmaker filtered through the French New Wave critics’ imagination; a person who authors the text and controls a vision, through images and sound.

One of Varda’s auteurist traits has been a control of bringing other voices into her films and a deep empathy for her subjects. Her films have been consistently celebrated as they represent a different, more apparently inclusive form of cinema.  She came to a much wider audience with Les glaneurs et la glaneuse (2000) an odyssey through the French countryside and cities sharing and witnessing as to the activity of gleaning from the waste that others throw away. The heart-shaped potato became a powerful symbol from that film, representing the mountains of allegedly misshapen potatoes that the supermarket buyers leave behind as too unappealing to go on their shelves. Varda, through her technique of juxtaposition effects, in Mireille Rosello’s words, a ‘surrealist encounter between the word heart and the dull potato’, creating a new set of associations. The abandoned potatoes are a metaphor for the people that she meets that somehow sit outside of society or are ‘misshapen’ in terms of normal ways of living.  As with her potato art installation (Figure 2), she gives them space within her film to tell their stories, to show their accomplishments and creativity and to interact with Varda who happily stages these encounters so that they are entertaining and often very moving. Varda understands that what she is doing should appear effortless, almost ‘throw-away’ in its own technique; however, her work is tightly constructed as a piece of performance art. The little old lady she has played in her later documentaries has created a receptive context for drawing performances out of her contributors.

Later in the film, Varda films her own ageing skin (then at seventy-eight years old) and comments on the ‘horror’ of this process. Her wish to acknowledge her ageing is present in her trademark two-tone hair colour.  Varda’s deep empathy and understanding shown by her interviews and revelations generated many personal letters by return, where audiences sent her stories and images based on the heart-shaped potatoes. It was acknowledgement of how many of us feel we may really fit that allegedly marginal, misshapen category.

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Figure 2: Les glaneur et la glaneuse (2000). Ciné-Tamaris.

Similar in its structure, Visages, villages (Faces, Places (2017)) moves into slightly different territory through a collaboration with fellow artist, JR.  At ninety years old, one might presume that Varda was bringing in a companion to take away some of the burden of artistic control. In fact, this is another development of her ‘cinema d’auteur-témoin’ and a vibrant intellectual interaction between them through the film. The project arose out of the sympathetic strands of their individual projects between the young photographer-artist and the nonagenarian. JR undertakes his own kinds of odyssey in his work, making poster portraits of ordinary people in his travelling photo studio. These images are then placed on structures that relate to the subjects and their experiences. The French title, Visages, Villages indicates their plan to visit only villages on the trip (and also recalls Varda’s consistent love of rhythm and rhyme in her writing for the cinema, especially her voiceovers). The film foregrounds another series of moving testimonies, such as the image of the last inhabitant still in place in the mining village (Figure 1 above), the image of the women who work closely with their husbands at the dockyard or the face of Varda’s early model and friend, Guy Bourdin, who himself went on to be a photographer.

Varda and JR’s relationship is staged onscreen, but there is an affecting conviviality and mutual respect, often indicated by the insults directed towards each other. They joust pleasantly over a running joke about JR removing his glasses. This, as is pointed out, triggers a memory for Varda of filmmaker Jean-Luc Godard’s propensity never to remove his glasses. Godard was a close associate of hers as part of the French New Wave, introduced to her by Jacques Demy, Varda’s future husband at the time. She has described Godard as the ‘chercheur‘, the seeker, a word she repeats on camera here and as containing a genius situated in his deep silence, a stillness that keeps him separate from others. Varda managed to persuade Godard to reveal his ‘sad eyes’, for a short film she made, Les Fiancés de Pont Macdonald (1961). It is the film that Cléo/Florence (Corinne Marchand)) and her friend, Dorothée (Dorothée Blanck) watch together through the projectionist’s window at the cinema during their Parisian car jaunt in Cléo de 5 à 7 (1962).

Travelling marks many of Varda’s films. Her early films reflected her travels, after leaving home as a young women, to the south coast of France. Varda mended nets with fishermen and lived amongst them; her first feature, La Pointe-Courte (1955) records the rhythm of the lives of fishermen and their families in Sète (alongside a more surreal narrative). Varda, living in Paris, pursued topics in and among her neighbours, including L’opéra-Mouffe (1958), Daguerréotypes (1976), Ulysse (1982) and Jane B. par Agnès V. (1988)Varda went with Demy to Los Angeles at the end of the 1960s, as part of joint explorations with Hollywood studios, where she made the essay film, Oncle Yanco (1967) and the surrealist, erotic fantasy Lions Love ( . . . and Lies) (1969).  She returned to L.A. in the early  1980s, and made the short fiction Documenteur (1981) and the essay film Mur Murs (1981). In both instances, there were failed negotiations regarding projects with the American studios.

Varda’s travels, therefore, have become an integral part of her biographical and artistic narrative, continued in her third age with her television series, Agnès de ci de là Varda (2011), where she travels to other countries and encounters other people, including other artists. (Other artists have long before featured in her work, including Ydessa Hendeles’ Teddy Bear Project in Ydessa, les ours et etc (2004). Each episode of this television series began with a short verse outlining the impetus for travel, being the pruning of the trees in her courtyard at Rue Daguerre, the home she has lived in for over sixty years. The title sequence joke runs that by the time they have returned, the tree need pruning again.

In the same way, Visages villages is concerned with movement in space and questions of time and memory (a preoccupation across Varda’s work). Going on the road with another artist enables her to extend the possibilities, creating a dynamic between two ‘auteur-témoin(s)’, both sharing a fascination with the lives of others. JR is a good match for Varda, both enjoying playing with ephemera and playing with whimsical commentary. Delving into people’s histories and working in temporary materials means that time as a subjective medium is very prevalent in the film. JR’s art installations are temporary posters which will only survive until the elements wash or wear them away. His creations are always destined to be destroyed by the weather. This is particularly brutal in the case of a recovered Varda photograph of Guy Bourdin, memorialised on a beach by JR.  Its complete disappearance by the next day reminds us how much these two artists are working with time and what passes – through travelling, gleaning and recycling. It becomes less about image being constructed and more about the new practice made by JR and Varda and their interplay in the moment of recreating the photo. All that remains is the photographic and filmed record of their work together and their group photograph at its completion.

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Figure 3: Les plages d’Agnès (2008). Ciné-Tamaris.

Varda comments in Visages villages on the workings of the ‘mise-en-abyme’, which is appropriate to this and other moments in the film, when we are looking at the subjects inside or in front of the images of themselves (as in Figure 1). In some ways, it appears as if they are standing inside their own past selves. It is a trope very familiar in Varda because of her fascination with the passing of time and how we relate to our former selves. At the end of Les plages d’Agnès, she sits in her house on Rue Daguerre with her eighty brooms, delivered for her birthday by friends and neighbours. She comments at this point, the moment is already gone, as the filmed image recedes in upon itself (Figure 3).

The loose structure of Visages villages does disguise one underlying narrative, based on an echo of the past into the present, which is the movement towards visiting Godard created by his resemblance to JR. In the last scene, at Godard’s house in Switzerland, a planned visit is thwarted by the French New Wave legend’s unavailability. Godard appears to be playing against the role Varda has made up for him; he does not want to appear as part of someone else’s odyssey. He has written a message on his porch window, referring to his condolence note to Varda on the death of her husband, Jacques Demy. The note recalled happier times, dining together with Demy, placing a very personal note in the public space (window and film).

This moment could be part of the narrative construct; perhaps Varda anticipated he would not be willing to appear on camera. However, she is clearly deeply upset and takes several moments to verbally accept what Godard has done. Varda onscreen in her later films has been, in her playful words, the ‘little old lady’; however, one who has performed her unassuaged grief at Demy’s loss (in 1992), a grief she has turned into art to bear witness to an experience we all have had or will suffer. Les veuves de Noirmoitier (2006),

Other echoes in respect of Demy enter the current film. Varda filmed Demy, shortly before his death, during Les plages d’Agnès (2008), following the contours of his face and focussing on his eye.  Varda is gleaning parts of him, capturing them on film, before she loses him forever (Figure 4). Exhibiting these fragmented images in the film accentuates the loss, being all she has of Demy now.

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Figure 4: Les plages d’Agnès (2008)

Artistically, a new echo is created in Visages villages when JR photographs Varda in close-up, taking her eyes and her feet. He places these images on a train, so that she can continue her odyssey to places she cannot go to now she is the age she is.  However, this strikes a new emotional note. It is not a capturing or preserving of someone who is disappearing; instead, it affirms and celebrates his witnessing of her intellectual vigour. It sends Varda off, in virtual form, to continue to look and to travel and to create ‘surrealist encounters’, just like the one they have enjoyed together as artists. [SPOILER] JR’s removal of his glasses, brilliantly executed by the camerawork (having spoilt that part, I will avoid a further technical spoiler), is the perfect narrative conclusion as if devised from the start, having guessed at Godard’s unavailability. However, the warmth of their relationship, his obvious distress at her distress, makes the moment completely emotionally engaging as well as providing a satisfying conclusion. If Godard is to be known as a chercheur, then Varda deserves the sobriquet equally, still producing her intellectually demanding meditations on time, memory and our relationships to each other. JR knew he had to run – intellectually just to keep up.

References

Conway, K. (2010). ‘Agnès Varda at Work’, Studies in French Cinema,  10(2), pp.125-139.

Murray, R. (2015). ‘The Significance of Agnès Varda’s Old Lady Onscreen.’ in Jermyn, D. and Homes, S, (eds). Freeze-frame. Women, Celebrity & Cultures of Ageing. (Basingstoke, Hampshire: Palgrave Macmillan).

Rosello, M. (2006). ‘Agnès Varda’s Les Glaneurs et la glaneuse. Portrait of the Artist as an Old Lady’, Studies in French Cinema, 1(1), pp.29-36.

Ryder, K. (2016) ‘A Piercing View of the Twentieth Century, Through the Eyes of the Teddy Bear’, The New Yorker.

Varda: Le bonheur (Happiness, France 1965)

François (Jean-Claude Drouot) and Thérèse (Claire Drouot) enjoying the pastoral

Agnès Varda has just had her 90th birthday and a season of her films is touring UK cinemas. If you’ve never seen an Agnès Varda film, you should seek out your nearest screening forthwith. Varda is a cinematic genius and Le bonheur is marvellous. On the DVD I watched, Varda introduces her film as part of a tribute to her by the TV arts channel ‘arte’. She chooses a vacant lot in her neighbourhood and, because arte is bilingual, she invites a young German boy to translate for her. The wasteland is decorated with posters for her films and she carefully positions herself for the camera so that the backdrop changes to the leaves of a group of saplings waving in the sunshine. She explains that she loves nature and she especially likes picnics, so in Le bonheur there are three. This intro is reminiscent of her autobiographical film The Beaches of Agnès (France 2008) in which she creates a beach on the street where she lives in Paris.

Thérèse dresses the local brides

The setting and the approach to filming Le bonheur is in line with Varda’s ideas throughout her career. The location is Fontenay-aux-Roses, a small community in the South-Western outer suburbs of Paris. In 1964 it must have still been almost like a rural village. François (Jean-Claude Drouot) works for his uncle’s small carpentry company. Drouot is tall and handsome and at this time he was the star of a French TV historical adventure series set during the Hundred Years War – perhaps that is why Varda names him François Chevalier (i.e. a ‘knight’). Drouot’s own wife Claire plays Thérèse Chevalier and the couple’s own small children play Pierrot and Gisou Chevalier (none of them are professional actors). Unsurprisingly, family life chez Chevalier often feels like it is being ‘captured’ by a documentary camera – and this extends to scenes featuring other members of the extended family and some of the scenes where friends and neighbours visit the small house or meet the Chevaliers in social situations. (Thérèse is a dressmaker and young women come to her for a wedding dress.) The family are seemingly blissfully happy during these summer months. But Varda has ideas about what ‘happiness’ might actually mean. I guess I should warn you if you haven’t seen the film or heard about its reputation. Many audiences have found the film ‘shocking’ for a number of reasons. The UK film certification board gave it an ‘X’ in 1965 (no one under 16). The DVD I watched carries an ’18’ certificate but the BBFC website lists a ’15’ (confusion like this is not unusual as tastes and moral codes change over time). The ‘advice’ from the board is that the film contains ‘sexualised nudity’. But this isn’t what shocks.

Gisou visits her latest cousin – while the extended family are outside

François meets Émilie (Marie-France Boyer) at the post of office in Vincennes

I should place a SPOILER warning here.

I can’t really discuss the film if I don’t reveal the main plot points, so if you want to watch the film without any foreknowledge don’t read on until you’ve seen it. The plot is very simple. François is so happy in his marriage to Thérèse that when he meets an attractive Post Office counter clerk, Émilie (Marie-France Boyer), he feels that he can add to his own happiness by falling for Émilie and loving her as much as he loves his wife. For a time François makes love to both women, sometimes on the same day. Émilie has moved to Fontenay from Vincennes on the other side of Paris and she joins in the local social celebrations, on one occasion attending the same event as Thérèse. The situation can’t last. During an idyllic summer picnic in the woods, Thérèse tells François she’s never seen him look so happy. Unable to contain himself, François tells her about Émilie, assuring Thérèse he loves her just as much as before. He explains this with a reference to an orchard of apple trees. He’s very happy in the orchard with his family, but he sees a beautiful apple tree on the other side of the wall and decides to investigate. Now he is happy inside and outside the orchard. With their children asleep under a bush, François and Thérèse make love. When François awakes, Thérèse is gone. She has drowned in the nearby river, whether by design or accident isn’t very clear. A few months later François and Émilie are re-united with the two small children.

Francois and Émilie

The film was a big success in France and around the world. The DVD carries a short discussion about the film involving four people, two journalists, a producer and a woman running a women’s charity. Two of these people saw the film on release, the others have seen the film more recently (the discussion is in 2005, I think). I suspect that the discussion points will probably be repeated by groups of people who see the film in 2018. The key issue seems to be what did the writer-director, an avowed feminist, want to say in 1964 when she shot the film? To expose the naïveté and arrogance of the man or to satirise ideas about family life and bourgeois ‘happiness’? But before making pronouncements it is a good idea to consider the formal aesthetics of the film. It is very beautiful to watch with images carefully composed and framed. Colour is used in dramatic ways. In her intro Varda explains how after 40 years the colours had faded but how, by painstaking work with original negatives, the restoration has reproduced the colours of the original.

The intense colours of some of the pastoral scenes are highlighted in the costume choices in this scene

The colours in the film are bold primary colours emphasised in two ways in contrast to the pastel shades of summer picnics. At one point, Varda’s camera (under the control of Charles Beausoleil and Jean Rabier, long-term collaborators with Varda and her husband Jacques Demy) discovers a series of shopfronts, each painted a single primary colour – red, blue or green. Did Varda repaint these buildings? A sunflower set against a field of corn is a study in yellow. Varda also challenges conventions by using fades and dissolves which are suffused by a single colour rather than the traditional black. She uses different techniques to show an instant rapport when two characters meet – cutting rapidly between close-ups. Similar camera techniques are used in other scenes. At one point the camera tracks left and right along a street party scene with locals dancing. As the camera passes a large tree in the foreground, the focus shifts and when sharp focus is regained, the dancers have changed partners. Thérèse is wearing a red dress, Émilie is in green. François dances with both women (there is no suggestion that the women know each other) among several other partners. This scene is a good example of how Varda’s documentary camera is allied to an expressionist sensibility – as it is in Cléo de 5 à 7.

Renoir on TV – a colour broadcast in 1964?

Le bonheur is not a realist film with a sociological underpinning, despite the documentary feel. It’s a film of playful devices and moments of intertextualities. The colours and aspects of the plot link it to Demy’s Umbrellas of Cherbourg – François met Thérèse during his military service and brought her back to Fontenay to marry. One of the strongest links is the tradition of al fresco eating that recurs in French art. At one point a film is playing on the TV set in the uncle’s home. The film is Jean Renoir’s 1959 Le déjeuner sur l’herbe (Picnic on the Grass). Both Manet and later Monet produced paintings with the same title during the Impressionist phases. Renoir himself had earlier used the ‘picnic’ as a vehicle to set up a multi-narrative, including seduction, in Partie de campagne (A Day in the Country, 1936). In Renoir’s 1959 film an older character pontificates about happiness. The odd thing about this scene is that the film is in colour, but as far as I’m aware, French TV did not begin regular colour transmissions until 1967. This anachronism is repeated with a reference to Viva Maria!, Louis Malle’s film starring Brigitte Bardot and Jeanne Moreau together for the first time. It was not released until the end of 1965 in France but Thérèse tells François she wants to see it. She also asks him (while stroking his back) “Which one do you prefer, as a woman?” “As a woman, you”, he replies. There is then an immediate cut to the carpentry workshop where we see that the door to the food cupboard is festooned with pin-up images of Bardot – and one of Moreau. At first, I thought we see François opening the cupboard door, but it’s one of his workmates. Even so, the cut reminded me of that moment in Truffaut’s Shoot the Pianist (1960) when a character swears on his mother’s life and a swift insert sees the old lady keeling over. Just before the Bardot/Moreau moment in Le bonheur, the  image of François shaving is juxtaposed with a soap advert that fills the screen with ‘Un savon d’homme!’ (a soap for men!). The sequence immediately before this is a smiling Émilie behind the post office counter, clearly smitten with François. Varda tells a story completely through montage editing. The use of an advert is picked up in Amy Taubin’s essay for the Criterion DVD label which re-released the film in the US. She compares the film to Godard’s Two or Three Things I Know About Her (France 1967). That film takes ‘her’ to be both a wife and part-time prostitute as well as signifying Paris. The film is a commentary on consumerism and politics in the new, ‘modern’ Paris of 1966. In Varda’s film, made only two years earlier, the new high-rise flats of Paris are only glimpsed a couple of times in the distance. Otherwise her film is both ‘traditional’ in depicting small-town France and ‘timeless’ in its exploration of the mores of love and life and community. In the discussion of the film on the DVD, one participant sees it as a story set in a ‘Garden of Eden’.

I love this film. I’ve written nearly 2000 words and barely scraped the surface of what Varda achieved in 80 minutes. I will have to watch scenes again to see just how the editing works before thinking more about the carpenter and his lovely wife and beautiful children. And I haven’t even started on the stamps that Émilie sells and the posters in the Post Office.

In the original trailer below, you’ll see an iconic pop image of Sylvie Vartan but the music on the trailer is Mozart – two pieces which form the main music soundtrack of the film. I’m something of a philistine re classical music and on this occasion I found the Mozart too loud and too distracting but many others have commented on the music as an excellent choice, suggesting that it perfectly matches the tone of the comedy/drama.

HOME in Manchester starts its Varda screenings this week with a 1 hour intro by Isabelle Vanderschelden on Thurs 26th followed by Varda’s first feature La Pointe Courte (1954) and on Friday her latest film Faces/Places (2017) – Le bonheur screens Saturday 4th August. In London, the BFI Varda seasons continues this week and FACT Liverpool has several Varda screenings (Le bonheur on 8th August) as part of Liverpool Biennial 2018. Le bonheur shows three times at Watershed, Bristol in early August and Curzon has a ‘Gleaning Truth’ season of Varda films at various of its cinemas during August. There are other venues with similar programmes so don’t miss the opportunity this summer – check out your local specialised cinema!

Les plages d’Agnès (The Beaches of Agnes, France 2008)


The 'beach' in Paris outside Varda's home in the Rue Daguerre (named after Louis Daguerre, one of the inventors of photography)

The French movie channel Cinémoi is currently free for a two month period on Virgin cable in the UK and I’m trying to see as many films as possible. Les plages d’Agnès is Agnès Varda’s autobiographical essay about her life and work and I wasn’t sure what to expect – despite being a fan. I needn’t have worried. This is a magical film which is as much about Varda’s visual ideas as an artist as it is about cinema. The title refers to various beaches (or at least coastlines) that feature strongly in her life story plus a beach of the imagination that she creates to represent the Parisian period when she met Jacques Demy, her partner for 30 years before his death just as she finished her film about him, Jacquot de Nantes in 1990.

Agnès Varda (born 1928) left Belgium in 1940 when the Nazis invaded and ended up in the Mediterranean port of Sète in Vichy France. This is the second ‘beach’ – although she spent her time on boats and the dockside. The first beach is in Belgium. From Sète she eventually graduated as an art student bound for Paris. Art led in turn to photography and film and her first film in 1954, La Pointe Courte, was set in a fishing village close to Sète. Other beaches are near Nantes and on the coast of Southern California where she went with Demy in the late 1960s.

This is a fascinating film in terms of structure as well as ideas about cinema and art and various filmic techniques. The beach on the Île de Noirmoutier in La Vendée, Pays du la Loire, takes the place of a stage in a one woman show – complete with actors and circus performers acting out aspects of memory. One of the interesting visual devices involves mirrors and frames with a central moving image framed by smaller static images. Perhaps the standout device that I almost feel tempted to try out myself is a film of the streets and characters in Sète shot in the 1950s which is projected onto a small screen. The projector and screen are secured on a cart which is then pushed around the same streets in the dusk, which makes the black and white images clearly visible  – and stunning and beautiful in the simplicity of the sequence.

We learn a lot about Varda, her love for Demy and her two children – who appeared in many of her films. We also learn about her friends including Godard, Resnais and Chris Marker and something of her politics and thoughts about being in California with the Black Panthers amongst others. As many other commentators have noted, what is so uplifting and inspiring is the sheer vitality and imagination of this remarkable filmmaker, scampering about (a “plump and pleasant person” as she describes herself) and producing beautiful and fascinating images. I think anyone despairing of cinema at a time when it seems to be losing some of its magic should watch Beaches and rejoice.

This trailer illustrates some of the points made above: