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Madame Agnès is a lively listener. The curiosity of petite filmmaker with cheerfully coloured Pilzkopfrisur is so undisguised and encouraging that she also brings people to tell who are not accustomed to it and who in cinema never really seem: old farmers, young peasants. In her recent documentary Moments: Faces of a journey are true sights of places that Agnès Varda visits, always women and men who live re.
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“We are very happy to meet you,” says Varda once to a young worker who, in front of camera, speaks passionately against fact that goats are sawed off horns in livestock farming. She may have said same thing to every interlocutor she met on her journey through rural France and in whose everyday life she discovered immense poetry. As a wise, casual sociologist, however, she has reserved sentence in montage of her film to a man who has roots in Maghreb and lives in south, where right-wing front has national high appeal.
Making Everyday Big
89 years old, she was director and author when she, toger with 55 years younger street artist Jr, went to this trip to portray faces and villages toger. In a car that looks like a mobile passport machine, photographer magnified pictures and n glued m to houses, ruins, cargo containers or trains. Houses carry face of ir inhabitants for a short time and underline bond that exists between m. JRs working method consists in magnification, exaggeration of everyday. Therein lies commonality between him and Varda, which, although frail, has remained intellectually spry. Also cinema of Varda is always a close alliance with venues, provides a deep resonance between places and soul position of figures, for example in ir short film Opéra-Mouffe (1958), in which y have a weekly market with sensitive look of a pregnant Considered, and most definitely in Cléo – Wednesday between 5 and 7 (1962), which logs in real time anxious stroll of a singer through Paris waiting for outcome of a cancer investigation.
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At same time, eloquence of facades of houses, which new film up to its astonishing conclusion by declined, is a fascination that director has already occupied 1981 in murals, her documentary on murals and graffiti in Los Angeles, field research In a world of signs. In film essay The Collectors and Collector (2000) HID Varda from remnants of consumer society, which no or filmmaker would have discovered. And in outlawed she reconstructed 1985 as a trace-seeker to edge zones of bourgeois society with actress Sandrine Bonnaire last weeks of a homeless person.
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Varda may be a veteran Avantgardistin, her films continue to lead a hilarious, non-defiant niche existence to a worldwide audience. On May 30, 1928, Varda was born in Ixelles district of Brussels and began working as a photographer after Second World War. Her films reveal an emphatically feminine look – one sings, or not from 1977 shows, for example, Vardas burning interest in different women’s biographies – as Gallions figure of feminism she never let herself be collected. In her films of Sixties, she explored all too devotional designs of family happiness, in which she also reflected intimacy of her marriage with her colleague Jacques Demy.
