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Soul Searcher Agnès Varda Casts a Glow at SFMOMA and BAMPFA","publishDate":1578950459,"format":"standard","headTitle":"Now Playing! Soul Searcher Agnès Varda Casts a Glow at SFMOMA and BAMPFA | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>When Agnès Varda died last March, after 90 endlessly curious years, a light went out. That’s not a metaphor but a fact: Her unwavering instinct for beauty, palpable in every aspect and on every level of her films, cut like a beacon through the muck and struggle of everyday life.\u003c/p>\n\u003cp>Fortunately, movies have a long lifespan, and Varda’s filmography of affectionate exploration—cataloging one cat-crazy woman’s peripatetic search for the essence of stranger’s souls—will lift spirits and rekindle humanity for perpetuity. On this depressing day when Academy voters showered Oscar nominations on hollow, bloated and cruelly “entertaining” movies like \u003cem>The Irishman\u003c/em>, \u003cem>Once Upon a Time in Hollywood\u003c/em> and \u003cem>Joker\u003c/em>, I’m especially thankful for Agnès Varda.\u003c/p>\n\u003cp>The French writer, director, photographer and documentarian is the hub of \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a>’s current Modern Cinema series (screening most Thursdays and Saturdays through Mar. 21) and the anchor of \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>’s career-spanning retrospective (continuing through Feb. 28), entitled Agnès Varda: An Irresistible Force. Although she was unquestionably determined and persistent—and perpetually perturbed that she wasn’t more widely celebrated as the director who launched the French New Wave with her 1955 debut \u003cem>La Pointe Courte\u003c/em> (Feb. 1 in Berkeley and Feb. 15 and 22 in San Francisco)—Varda succeeded through empathy, generosity and, well, soul, rather than through relentless ambition. \u003c/p>\n\u003cfigure id=\"attachment_13873167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200.jpg\" alt=\"\" width=\"1200\" height=\"1207\" class=\"size-full wp-image-13873167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-1193x1200.jpg 1193w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1954. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week’s offerings include one of my all-time favorite documentaries, \u003cem>The Gleaners and I\u003c/em> (Jan. 16 and 18 at SFMOMA, and Feb. 21 at BAMPFA), a seemingly off-handed and seductively profound rumination on what we keep and what we leave behind, whose starting point is post-harvest fields. Varda’s genius lies in her lovely, understated evocations of the intersections between life and art, and her effortless blending of traditional documentary with personal commentary and revelation.\u003c/p>\n\u003cp>BAMPFA screens Varda’s Oscar-nominated 2017 crowd-pleaser \u003cem>Faces Places\u003c/em> (Jan. 17), made with large-portrait photographer JR, and—more essentially, in my view—\u003cem>Le Bonheur\u003c/em> (Jan. 18), her vivid, pensive 1965 story of a happily married man who takes a mistress and imagines his bliss is both transferable and enduring. As always, Varda absorbs the beauty of the natural setting, and the reality of the situation. \u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n","blocks":[],"excerpt":"The French director's unwavering instinct for beauty cuts like a beacon through the muck and struggle of everyday life.","status":"publish","parent":0,"modified":1705021516,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":7,"wordCount":411},"headData":{"title":"Now Playing! Soul Searcher Agnès Varda Casts a Glow at SFMOMA and BAMPFA | KQED","description":"The French director's unwavering instinct for beauty cuts like a beacon through the muck and struggle of everyday life.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Now Playing! Soul Searcher Agnès Varda Casts a Glow at SFMOMA and BAMPFA","datePublished":"2020-01-13T21:20:59.000Z","dateModified":"2024-01-12T01:05:16.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13873149/now-playing-soul-searcher-agnes-varda-casts-a-glow-at-sfmoma-and-bampfa","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>When Agnès Varda died last March, after 90 endlessly curious years, a light went out. That’s not a metaphor but a fact: Her unwavering instinct for beauty, palpable in every aspect and on every level of her films, cut like a beacon through the muck and struggle of everyday life.\u003c/p>\n\u003cp>Fortunately, movies have a long lifespan, and Varda’s filmography of affectionate exploration—cataloging one cat-crazy woman’s peripatetic search for the essence of stranger’s souls—will lift spirits and rekindle humanity for perpetuity. On this depressing day when Academy voters showered Oscar nominations on hollow, bloated and cruelly “entertaining” movies like \u003cem>The Irishman\u003c/em>, \u003cem>Once Upon a Time in Hollywood\u003c/em> and \u003cem>Joker\u003c/em>, I’m especially thankful for Agnès Varda.\u003c/p>\n\u003cp>The French writer, director, photographer and documentarian is the hub of \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a>’s current Modern Cinema series (screening most Thursdays and Saturdays through Mar. 21) and the anchor of \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a>’s career-spanning retrospective (continuing through Feb. 28), entitled Agnès Varda: An Irresistible Force. Although she was unquestionably determined and persistent—and perpetually perturbed that she wasn’t more widely celebrated as the director who launched the French New Wave with her 1955 debut \u003cem>La Pointe Courte\u003c/em> (Feb. 1 in Berkeley and Feb. 15 and 22 in San Francisco)—Varda succeeded through empathy, generosity and, well, soul, rather than through relentless ambition. \u003c/p>\n\u003cfigure id=\"attachment_13873167\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200.jpg\" alt=\"\" width=\"1200\" height=\"1207\" class=\"size-full wp-image-13873167\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2020/01/Varda_La-Pointe-Courte_001_1200-1193x1200.jpg 1193w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1954. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This week’s offerings include one of my all-time favorite documentaries, \u003cem>The Gleaners and I\u003c/em> (Jan. 16 and 18 at SFMOMA, and Feb. 21 at BAMPFA), a seemingly off-handed and seductively profound rumination on what we keep and what we leave behind, whose starting point is post-harvest fields. Varda’s genius lies in her lovely, understated evocations of the intersections between life and art, and her effortless blending of traditional documentary with personal commentary and revelation.\u003c/p>\n\u003cp>BAMPFA screens Varda’s Oscar-nominated 2017 crowd-pleaser \u003cem>Faces Places\u003c/em> (Jan. 17), made with large-portrait photographer JR, and—more essentially, in my view—\u003cem>Le Bonheur\u003c/em> (Jan. 18), her vivid, pensive 1965 story of a happily married man who takes a mistress and imagines his bliss is both transferable and enduring. As always, Varda absorbs the beauty of the natural setting, and the reality of the situation. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13873149/now-playing-soul-searcher-agnes-varda-casts-a-glow-at-sfmoma-and-bampfa","authors":["22"],"categories":["arts_74"],"tags":["arts_2903","arts_2227","arts_1118","arts_596","arts_1381"],"featImg":"arts_13873166","label":"arts"},"arts_13871749":{"type":"posts","id":"arts_13871749","meta":{"index":"posts_1591205157","site":"arts","id":"13871749","score":null,"sort":[1576792532000]},"guestAuthors":[],"slug":"the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end","title":"The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End","publishDate":1576792532,"format":"audio","headTitle":"The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year’s End | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"Listen to this week's roundup of things to do in the Bay Area, including the Asian Art Museum, SOB x RBE, John Oliver and more.","status":"publish","parent":0,"modified":1705021639,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":9,"wordCount":673},"headData":{"title":"The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End | KQED","description":"Listen to this week's roundup of things to do in the Bay Area, including the Asian Art Museum, SOB x RBE, John Oliver and more.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Do List: Agnes Varda, Ghostface Killah and More Picks for the Year's End","datePublished":"2019-12-19T21:55:32.000Z","dateModified":"2024-01-12T01:07:19.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"audioUrl":"https://www.kqed.org/.stream/anon/radio/tcr/2019/12/TheDoListforThursdayDec.mp3","sticky":false,"templateType":"standard","featuredImageType":"standard","startTime":1576742400,"endTime":1546416000,"startTimeString":"Dec. 19, 2019–Jan. 2, 2020","path":"/arts/13871749/the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Looking for things to do in the Bay Area this weekend? The Do List has you covered with concerts, festivals, exhibitions, plays, performances and more.\u003c/p>\n\u003cp>You can listen to this week’s episode with KQED’s Gabe Meline, Sarah Hotchkiss and Nastia Voynovskaya above, or read about our picks below.\u003c/p>\n\u003cp>\u003cstrong>Ghostface Killah\u003c/strong>: This Wu-Tang icon comes to town this Sunday, but he’s not playing a hip-hop nightclub—he’s performing at Yoshi’s in Oakland. Yoshi’s, a jazz supper club, has been broadening its booking into rap lately, which makes sense. Let’s face it, rap is getting older. Now 49, Ghostface has always had a wonderfully throaty tone, and a beautiful surrealism. (As part of a bad review, the writer Ta-Nehisi Coates once derided him as “Amiri Baraka tripping on bathtub acid.” I don’t know about you, but that’s a plus in my book.) Ghostface Killah plays Sunday, Dec. 22, at Yoshi’s in Oakland. \u003ca href=\"https://www.yoshis.com/e/ghostface-killah-77966958271/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\u003cp>\u003cstrong>Agnès Varda Retrospective\u003c/strong>: Agnès Varda, who passed away earlier this year at the age of 90, was often called the “grandmother of French New Wave cinema.” She was the only female director in the scene, and hugely influential in its development, so it’s appropriate that it takes two Bay Area institutions to do her career justice. BAMPFA and SFMOMA have teamed up to co-present \u003cem>Agnès Varda: An Irresistible Force\u003c/em>, a national touring retrospective of her films that spans six decades, including her final work, \u003cem>Varda by Agnès\u003c/em>. (Don’t know where to start? Try one of our favorites, \u003cem>\u003ca href=\"https://ev7.evenue.net/cgi-bin/ncommerce3/SEGetEventInfo?ticketCode=GS%3APFA%3AP19-20%3AP0111203%3A&linkID=cal-pfa&shopperContext=&pc=&caller=&appCode=&groupCode=AVIF&cgc=\" rel=\"noopener noreferrer\" target=\"_blank\">Cleo from 5 to 7\u003c/a>\u003c/em>.) The series starts at BAMPFA this Friday, Dec. 20, and at SFMOMA on Thursday, Jan. 9. \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em> \u003c/p>\n\u003cp>\u003cstrong>SOB x RBE Bay Holiday Ball\u003c/strong>: It’s been awesome watching the rise of Vallejo rap group SOB x RBE in recent years. They’re three young guys who have this really explosive chemistry: Daboii and Slimmy B rap in a gruff bark, while Yung T.O.’s smooth, melodic delivery makes think of him as Gen Z’s version of Nate Dogg. Their new track “Ain’t Got Time” is produced by superstar producer Zaytoven, a San Francisco native, and the trio celebrates the holidays this year Bay Area style with opening acts 24KGoldn, Pimp Tobi and more. That’s on Friday, Dec. 27, at the Warfield in San Francisco. \u003ca href=\"https://www.thewarfieldtheatre.com/events/detail/385723\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—N.V.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cstrong>‘Lost at Sea: Art Recovered from Shipwrecks’\u003c/strong>: I want to quickly plug this show I just saw at the Asian Art Museum, which, yes, is all about art recovered from shipwrecks. It uses two particular shipwrecks as case studies to talk about how objects get into museum collections, and what those various journeys can tell us about trade routes, colonial practices, international maritime law and underwater archeology. It’s a super small show, but it’s packed with provocative questions that will change the way you look at historical objects on pedestals forever after. It’s up now and on view at the Asian Art Museum through March 22, 2020. \u003ca href=\"http://www.asianart.org/exhibitions/lost-at-sea\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—S.H.\u003c/em>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cstrong>John Oliver\u003c/strong>: Late night talk show hosts haven’t had it easy these past three years. You know what all comedians say about the Trump era—“How can you satirize something that’s already satire”? But night after night, John Oliver pulls it off, and at the end of this year he settles in for a residency at the Masonic on Nob Hill, doing standup, social commentary, and—I’m sure—talking about the impeachment in D.C.. He’s at the Masonic in San Francisco for three nights, Dec. 31 through Jan. 2. \u003ca href=\"https://sfmasonic.com/\" rel=\"noopener noreferrer\" target=\"_blank\">Details here\u003c/a>.\u003cem>—G.M.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871749/the-do-list-agnes-varda-ghostface-killah-and-more-picks-for-the-years-end","authors":["185","61","11387"],"programs":["arts_140"],"categories":["arts_73","arts_835","arts_74","arts_69","arts_75","arts_70"],"tags":["arts_2903","arts_2250","arts_2227","arts_549","arts_6387","arts_1381","arts_4107"],"featImg":"arts_13871843","label":"arts_140"},"arts_13871479":{"type":"posts","id":"arts_13871479","meta":{"index":"posts_1591205157","site":"arts","id":"13871479","score":null,"sort":[1576196082000]},"guestAuthors":[],"slug":"agnes-varda-retrospective-arrives-at-bampfa-and-sfmoma","title":"Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA","publishDate":1576196082,"format":"standard","headTitle":"Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA | KQED","labelTerm":{"term":140,"site":"arts"},"content":"\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\n\u003cp>https://youtu.be/Po7eU4xo54w\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n","blocks":[],"excerpt":"Nearly two-dozen works by the influential French filmmaker, who passed away earlier this year, screen on both sides of the Bay.","status":"publish","parent":0,"modified":1705021680,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":263},"headData":{"title":"Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA | KQED","description":"Nearly two-dozen works by the influential French filmmaker, who passed away earlier this year, screen on both sides of the Bay.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Irresistible Agnès Varda Retrospective Arrives at BAMPFA and SFMOMA","datePublished":"2019-12-13T00:14:42.000Z","dateModified":"2024-01-12T01:08:00.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"templateType":"standard","featuredImageType":"standard","path":"/arts/13871479/agnes-varda-retrospective-arrives-at-bampfa-and-sfmoma","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>The late, great Agnès Varda is often quoted saying, “In my films I always wanted to make people see deeply. I don’t want to show things, but to give people the desire to see.” \u003c/p>\n\u003cp>Now local audiences with a desire to see more of Varda’s work have a lot to look forward to. The Berkeley Art Museum and Pacific Film Archive and the San Francisco Museum of Art have teamed up to co-present \u003ci>Agnès Varda: An Irresistible Force\u003c/i>, a national touring retrospective organized by Janus Films. The program spans six decades, including her final film, \u003ci>Varda by Agnès\u003c/i>, completed before her death earlier this year.\u003c/p>\n\u003cfigure id=\"attachment_13871484\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/app/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg\" alt=\"\" width=\"1200\" height=\"900\" class=\"size-full wp-image-13871484\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2019/12/Varda_Varda-By-Agnes_002_1200-1020x765.jpg 1020w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Varda by Agnès,’ 2019. \u003ccite>(Courtesy of Janus Films)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The acronym-strong co-presentation between BAMPFA and SFMOMA begins Dec. 20 with advance screenings of \u003ci>Varda by Agnès\u003c/i> in Berkeley. The full program includes nearly two dozen films, with repeat screenings on both sides of the Bay. \u003c/p>\n\u003cp>Make special note of opportunities to see Varda’s shorts, which include the Sausalito-set \u003ci>Uncle Yanco\u003c/i> (1967) and Oakland-shot \u003ci>Black Panthers\u003c/i> (1968). I’m personally jazzed to see \u003ci>Mur murs\u003c/i> (1980), a look at the large-scale murals (many now long gone) of Los Angeles. \u003c/p>\n\u003cp>\u003ci>Agnès Varda: An Irresistible Force\u003c/i> plays at \u003ca href=\"https://bampfa.org/program/agnes-varda-irresistible-force\" rel=\"noopener noreferrer\" target=\"_blank\">BAMPFA\u003c/a> Dec. 20, 2019–Feb. 28, 2020 and at \u003ca href=\"https://www.sfmoma.org/event/series/modern-cinema-agnes-varda/\" rel=\"noopener noreferrer\" target=\"_blank\">SFMOMA\u003c/a> Jan. 9–March 21, 2020. Check each institution’s site for details. \u003c/p>\n\u003cp>Viva Varda!\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/Po7eU4xo54w'\n title='//www.youtube.com/embed/Po7eU4xo54w'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13871479/agnes-varda-retrospective-arrives-at-bampfa-and-sfmoma","authors":["61"],"programs":["arts_140"],"categories":["arts_74","arts_235"],"tags":["arts_2903","arts_2227","arts_977","arts_596","arts_1381"],"featImg":"arts_13871485","label":"arts_140"},"arts_13853914":{"type":"posts","id":"arts_13853914","meta":{"index":"posts_1591205157","site":"arts","id":"13853914","score":null,"sort":[1553876171000]},"guestAuthors":[],"slug":"director-agnes-varda-a-giant-of-french-cinema-dies-at-90","title":"Director Agnès Varda, A Giant Of French Cinema, Dies At 90","publishDate":1553876171,"format":"standard","headTitle":"Director Agnès Varda, A Giant Of French Cinema, Dies At 90 | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>French film director Agnès Varda, who was a pioneer during the New Wave revolution of the 1950s and 60s and who kept making important films for the next five decades, has died at age 90.\u003c/p>\n\u003cp>A representative of Varda’s family confirmed the news of her death to NPR Friday. In a statement, her film company says the filmmaker and artist “died from a cancer at her home in the night of March 29, 2019, surrounded by her family and friends.”\u003c/p>\n\u003cp>[aside postID='arts_13816567,arts_13825978,arts_13812731' label='Related Coverage']\u003c/p>\n\u003cp>As a director, Varda had a photographer’s eye for capturing striking images—a skill she often used to accomplish the feat of allowing her stories to seem as if they told themselves. But behind the camera, a master was at work. \u003c/p>\n\u003cp>Varda released her first film, \u003cem>La Pointe Courte\u003c/em>, in 1955, on a shoestring budget and with no formal training. She even claimed not to have seen very many films before writing and directing what is now seen as a classic of cinema.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Varda may have lacked experience, but as she started out in her 20s, she believed that while other arts had progressed to new heights, films were still telling stories the way they always had. \u003c/p>\n\u003cp>“Literature had changed, painting had changed, culture. And from what I knew, the movie had been just illustrating stories, illustrating books,” \u003ca href=\"https://www.youtube.com/watch?v=5Qpu-bP2ywc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “I could see that the feeling was just to illustrate, when I thought, ‘It should be radical.'” \u003c/p>\n\u003cp>By making \u003cem>La Pointe Courte\u003c/em>, historian Georges Sadoul said, Varda created “truly the first film of the nouvelle vague.”\u003c/p>\n\u003cp>\u003cem>La Pointe Courte\u003c/em> tells the story of a Parisian couple visiting the husband’s modest hometown, a small fishing village. As the relatively simple story unfolds, viewers can feel a guiding intelligence, through Varda’s meticulous staging and framing of shots. Shot in black and white, two main narratives emerge, much as in William Faulkner’s \u003cem>The Wild Palms\u003c/em>, Varda’s inspiration for the film.\u003c/p>\n\u003cp>“Varda’s authorial control over both scriptwriting and directing, the exclusive use of location shooting, the mixing of professional and nonprofessional actors—all of this was groundbreaking in early 1950s France,” \u003ca href=\"https://www.criterion.com/current/author/191-ginette-vincendeau\" target=\"_blank\" rel=\"noopener\">Ginette Vincendeau\u003c/a> wrote for Criterion in 2008.\u003c/p>\n\u003cp>To form her unorthodox approach, Varda instructed her actors to mute their emotions; she spurned artificial lighting; she also allowed off-camera sounds to buzz in and out of dialogue—stylistic touches that became mainstays for the New Wave, a movement that includes esteemed directors such as Jean-Luc Godard, François Truffaut and Alain Resnais. \u003c/p>\n\u003cp>“Varda is sometimes referred to as the godmother of the French New Wave,” \u003ca href=\"https://www.rogerebert.com/reviews/great-movie-cleo-from-5-to-7-1962\" target=\"_blank\" rel=\"noopener\">Roger Ebert wrote about Varda\u003c/a> in 2012. “I have been guilty of that myself. Nothing could be more unfair. Varda is its very soul, and only the fact that she is a woman, I fear, prevented her from being routinely included with Godard, Truffaut, Resnais, Chabrol, Rivette, Rohmer and for that matter her husband Jacques Demy.”\u003c/p>\n\u003cp>Over the years, appreciation for Varda’s work has only grown. In 2017, she was awarded an honorary Oscar for Lifetime Achievement. That followed her Palme d’honneur, a lifetime award from the 2015 Cannes Film Festival. \u003c/p>\n\u003cp>As she explored her art, Varda kept a steady eye on important social themes, particularly the role of women. And she frequently turned her lens onto revolutionary ideas, filming in Cuba in 1963 (for 1971’s \u003cem>Salut les Cubans\u003c/em>) and making a short documentary about the Black Panthers in 1968.\u003c/p>\n\u003cp>“All life is about borders. Language borders, ethnic borders, et cetera,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “And in the cinema, I tried to erase borders, or make them smooth: between documentary and fiction; black and white and color; cinema and art.”\u003c/p>\n\u003cp>Varda’s well-respected films range over decades, from 1962’s \u003cem>Cleo from 5 to 7\u003c/em> and 1965’s \u003cem>Bonheur\u003c/em> to 1985’s \u003cem>Vagabond \u003c/em>—the story of a young woman living alone, constantly on the move.\u003c/p>\n\u003cp>\u003cem>Cleo\u003c/em> is seen as an icon of the New Wave, telling the story of a young pop star who meditates on beauty, femininity and objectification—all while rushing through Paris and awaiting the results of a biopsy that could tell her whether she will die from cancer.\u003c/p>\n\u003cp>In 2017, Varda co-directed \u003cem>Faces Places\u003c/em>—a project that paired her with the installation artist JR, as the unlikely pair (with a 55-year age difference) traveled to small towns and villages in France and treated the locals like larger-than-life personalities.\u003c/p>\n\u003cp>“We chose normal people that we met, I would say, people with no power,” \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\" target=\"_blank\" rel=\"noopener\">Varda told NPR\u003c/a>. “That was the point. The thing was, can we be person-to-person, and can we put the meeting as the main action? Meeting, listening, enjoying to meet.” \u003c/p>\n\u003cp>Varda turned the camera on herself for several projects, including the autobiographical \u003cem>The Beaches of Agnès\u003c/em> of 2008 and \u003cem>Varda by Agnès\u003c/em>, which came out this year. \u003c/p>\n\u003cp>Born Arlettte Varda in Brussels in 1928, Varda changed her name as she embarked on her career in art. While she is often associated with the Parisian arts scene, she also spent time in Los Angeles, where she moved in the late 1960s along with her husband, the late director Jacques Demy. \u003c/p>\n\u003cp>“I became in love with that strange city,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">she later said\u003c/a>. “And right away, it smelled so much [of] cinema, that I had to work.”\u003c/p>\n\u003cp>Even in Varda’s autobiographical film, she turned the camera on others.\u003c/p>\n\u003cp>“Varda teaches us how to understand our lives,” the critic John Powers\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=106690189\" target=\"_blank\" rel=\"noopener\"> said on NPR in 2009\u003c/a>. “We start not with our inner feelings, but with the people and places that matter to us. That’s why the film brims with generous portraits of the people who matter to her—the bakers next door, filmmaker Chris Marker, even her Hollywood pal Zalman King, the softcore impresario behind the cringeful \u003cem>Red Shoe Diaries\u003c/em>.”\u003c/p>\n\u003cp>Powers concluded, “Looking back over the 55 years of Varda’s film career, it’s tempting to say that she’s the most distinguished living woman filmmaker. But that would be to insult her with faint praise. She’s one of the most distinguished filmmakers, period.”\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this report.\u003c/em> \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n","blocks":[],"excerpt":"The film director was a pioneer during the New Wave arts revolution of the 1950s and 60s. She kept making important films for the next five decades.","status":"publish","parent":0,"modified":1705026413,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":29,"wordCount":1112},"headData":{"title":"Director Agnès Varda, A Giant Of French Cinema, Dies At 90 | KQED","description":"The film director was a pioneer during the New Wave arts revolution of the 1950s and 60s. She kept making important films for the next five decades.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"Director Agnès Varda, A Giant Of French Cinema, Dies At 90","datePublished":"2019-03-29T16:16:11.000Z","dateModified":"2024-01-12T02:26:53.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Guillame Souvant","nprByline":"Bill Chappell","nprImageAgency":"AFP/Getty Images","nprStoryId":"707970068","nprApiLink":"http://api.npr.org/query?id=707970068&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2019/03/29/707970068/director-agnes-varda-a-giant-of-french-cinema-dies-at-90?ft=nprml&f=707970068","nprRetrievedStory":"1","nprPubDate":"Fri, 29 Mar 2019 11:13:00 -0400","nprStoryDate":"Fri, 29 Mar 2019 11:13:07 -0400","nprLastModifiedDate":"Fri, 29 Mar 2019 11:13:24 -0400","path":"/arts/13853914/director-agnes-varda-a-giant-of-french-cinema-dies-at-90","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>French film director Agnès Varda, who was a pioneer during the New Wave revolution of the 1950s and 60s and who kept making important films for the next five decades, has died at age 90.\u003c/p>\n\u003cp>A representative of Varda’s family confirmed the news of her death to NPR Friday. In a statement, her film company says the filmmaker and artist “died from a cancer at her home in the night of March 29, 2019, surrounded by her family and friends.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"aside","attributes":{"named":{"postid":"arts_13816567,arts_13825978,arts_13812731","label":"Related Coverage "},"numeric":[]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>As a director, Varda had a photographer’s eye for capturing striking images—a skill she often used to accomplish the feat of allowing her stories to seem as if they told themselves. But behind the camera, a master was at work. \u003c/p>\n\u003cp>Varda released her first film, \u003cem>La Pointe Courte\u003c/em>, in 1955, on a shoestring budget and with no formal training. She even claimed not to have seen very many films before writing and directing what is now seen as a classic of cinema.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Varda may have lacked experience, but as she started out in her 20s, she believed that while other arts had progressed to new heights, films were still telling stories the way they always had. \u003c/p>\n\u003cp>“Literature had changed, painting had changed, culture. And from what I knew, the movie had been just illustrating stories, illustrating books,” \u003ca href=\"https://www.youtube.com/watch?v=5Qpu-bP2ywc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “I could see that the feeling was just to illustrate, when I thought, ‘It should be radical.'” \u003c/p>\n\u003cp>By making \u003cem>La Pointe Courte\u003c/em>, historian Georges Sadoul said, Varda created “truly the first film of the nouvelle vague.”\u003c/p>\n\u003cp>\u003cem>La Pointe Courte\u003c/em> tells the story of a Parisian couple visiting the husband’s modest hometown, a small fishing village. As the relatively simple story unfolds, viewers can feel a guiding intelligence, through Varda’s meticulous staging and framing of shots. Shot in black and white, two main narratives emerge, much as in William Faulkner’s \u003cem>The Wild Palms\u003c/em>, Varda’s inspiration for the film.\u003c/p>\n\u003cp>“Varda’s authorial control over both scriptwriting and directing, the exclusive use of location shooting, the mixing of professional and nonprofessional actors—all of this was groundbreaking in early 1950s France,” \u003ca href=\"https://www.criterion.com/current/author/191-ginette-vincendeau\" target=\"_blank\" rel=\"noopener\">Ginette Vincendeau\u003c/a> wrote for Criterion in 2008.\u003c/p>\n\u003cp>To form her unorthodox approach, Varda instructed her actors to mute their emotions; she spurned artificial lighting; she also allowed off-camera sounds to buzz in and out of dialogue—stylistic touches that became mainstays for the New Wave, a movement that includes esteemed directors such as Jean-Luc Godard, François Truffaut and Alain Resnais. \u003c/p>\n\u003cp>“Varda is sometimes referred to as the godmother of the French New Wave,” \u003ca href=\"https://www.rogerebert.com/reviews/great-movie-cleo-from-5-to-7-1962\" target=\"_blank\" rel=\"noopener\">Roger Ebert wrote about Varda\u003c/a> in 2012. “I have been guilty of that myself. Nothing could be more unfair. Varda is its very soul, and only the fact that she is a woman, I fear, prevented her from being routinely included with Godard, Truffaut, Resnais, Chabrol, Rivette, Rohmer and for that matter her husband Jacques Demy.”\u003c/p>\n\u003cp>Over the years, appreciation for Varda’s work has only grown. In 2017, she was awarded an honorary Oscar for Lifetime Achievement. That followed her Palme d’honneur, a lifetime award from the 2015 Cannes Film Festival. \u003c/p>\n\u003cp>As she explored her art, Varda kept a steady eye on important social themes, particularly the role of women. And she frequently turned her lens onto revolutionary ideas, filming in Cuba in 1963 (for 1971’s \u003cem>Salut les Cubans\u003c/em>) and making a short documentary about the Black Panthers in 1968.\u003c/p>\n\u003cp>“All life is about borders. Language borders, ethnic borders, et cetera,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">Varda said in 2015\u003c/a>. “And in the cinema, I tried to erase borders, or make them smooth: between documentary and fiction; black and white and color; cinema and art.”\u003c/p>\n\u003cp>Varda’s well-respected films range over decades, from 1962’s \u003cem>Cleo from 5 to 7\u003c/em> and 1965’s \u003cem>Bonheur\u003c/em> to 1985’s \u003cem>Vagabond \u003c/em>—the story of a young woman living alone, constantly on the move.\u003c/p>\n\u003cp>\u003cem>Cleo\u003c/em> is seen as an icon of the New Wave, telling the story of a young pop star who meditates on beauty, femininity and objectification—all while rushing through Paris and awaiting the results of a biopsy that could tell her whether she will die from cancer.\u003c/p>\n\u003cp>In 2017, Varda co-directed \u003cem>Faces Places\u003c/em>—a project that paired her with the installation artist JR, as the unlikely pair (with a 55-year age difference) traveled to small towns and villages in France and treated the locals like larger-than-life personalities.\u003c/p>\n\u003cp>“We chose normal people that we met, I would say, people with no power,” \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\" target=\"_blank\" rel=\"noopener\">Varda told NPR\u003c/a>. “That was the point. The thing was, can we be person-to-person, and can we put the meeting as the main action? Meeting, listening, enjoying to meet.” \u003c/p>\n\u003cp>Varda turned the camera on herself for several projects, including the autobiographical \u003cem>The Beaches of Agnès\u003c/em> of 2008 and \u003cem>Varda by Agnès\u003c/em>, which came out this year. \u003c/p>\n\u003cp>Born Arlettte Varda in Brussels in 1928, Varda changed her name as she embarked on her career in art. While she is often associated with the Parisian arts scene, she also spent time in Los Angeles, where she moved in the late 1960s along with her husband, the late director Jacques Demy. \u003c/p>\n\u003cp>“I became in love with that strange city,” \u003ca href=\"https://www.youtube.com/watch?v=0VLArLHK4yc\" target=\"_blank\" rel=\"noopener\">she later said\u003c/a>. “And right away, it smelled so much [of] cinema, that I had to work.”\u003c/p>\n\u003cp>Even in Varda’s autobiographical film, she turned the camera on others.\u003c/p>\n\u003cp>“Varda teaches us how to understand our lives,” the critic John Powers\u003ca href=\"https://www.npr.org/templates/story/story.php?storyId=106690189\" target=\"_blank\" rel=\"noopener\"> said on NPR in 2009\u003c/a>. “We start not with our inner feelings, but with the people and places that matter to us. That’s why the film brims with generous portraits of the people who matter to her—the bakers next door, filmmaker Chris Marker, even her Hollywood pal Zalman King, the softcore impresario behind the cringeful \u003cem>Red Shoe Diaries\u003c/em>.”\u003c/p>\n\u003cp>Powers concluded, “Looking back over the 55 years of Varda’s film career, it’s tempting to say that she’s the most distinguished living woman filmmaker. But that would be to insult her with faint praise. She’s one of the most distinguished filmmakers, period.”\u003c/p>\n\u003cp>\u003cem>NPR’s Elizabeth Blair contributed to this report.\u003c/em> \u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"floatright"},"numeric":["floatright"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cem>Copyright 2019 \u003ca href=\"https://www.npr.org\" target=\"_blank\" rel=\"noopener\">NPR\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13853914/director-agnes-varda-a-giant-of-french-cinema-dies-at-90","authors":["byline_arts_13853914"],"categories":["arts_74","arts_235"],"tags":["arts_2903","arts_1091"],"featImg":"arts_13853915","label":"arts"},"arts_13825978":{"type":"posts","id":"arts_13825978","meta":{"index":"posts_1591205157","site":"arts","id":"13825978","score":null,"sort":[1519922968000]},"guestAuthors":[],"slug":"the-oscar-elders-3-octogenarians-make-academy-award-history","title":"The Oscar Elders: 3 Octogenarians Make Academy Award History","publishDate":1519922968,"format":"standard","headTitle":"The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n","blocks":[],"excerpt":"For James Ivory, Christopher Plummer and Agnes Varda, their late 80s are proving fruitful. They're now the three oldest people ever nominated for an Oscar.","status":"publish","parent":0,"modified":1705028376,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":19,"wordCount":691},"headData":{"title":"The Oscar Elders: 3 Octogenarians Make Academy Award History | KQED","description":"For James Ivory, Christopher Plummer and Agnes Varda, their late 80s are proving fruitful. They're now the three oldest people ever nominated for an Oscar.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"The Oscar Elders: 3 Octogenarians Make Academy Award History","datePublished":"2018-03-01T16:49:28.000Z","dateModified":"2024-01-12T02:59:36.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprImageCredit":"Charley Gallay/Valerie Macon/Dave Kotinsky","nprByline":"Neda Ulaby","nprImageAgency":"Getty Images","nprStoryId":"588830916","nprApiLink":"http://api.npr.org/query?id=588830916&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"https://www.npr.org/2018/03/01/588830916/the-oscar-elders-3-octogenarians-make-academy-award-history?ft=nprml&f=588830916","nprRetrievedStory":"1","nprPubDate":"Thu, 01 Mar 2018 06:01:00 -0500","nprStoryDate":"Thu, 01 Mar 2018 06:01:00 -0500","nprLastModifiedDate":"Thu, 01 Mar 2018 06:01:00 -0500","path":"/arts/13825978/the-oscar-elders-3-octogenarians-make-academy-award-history","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>Let’s call it #OscarsSoOld: Three of this year’s Academy Award nominees are among the oldest ever. And we’re not talking about honorary Oscars –these octogenarians are up for competitive Academy Awards for their \u003cem>recent\u003c/em> work.\u003c/p>\n\u003cp>At 88 years old, Christopher Plummer is the oldest nominee ever for best supporting actor — for the second time. At age 82, he was nominated (and won) for the movie \u003cem>Beginners\u003c/em>. You can watch his adorably wry acceptance speech \u003ca href=\"https://www.youtube.com/watch?v=883H6gNZyGM\">here\u003c/a>.\u003c/p>\n\u003cp>89-year-old James Ivory, who directed and wrote many romantic films with his now-deceased partner Ismail Merchant, is up for best adapted screenplay with \u003cem>Call Me By Your Name\u003c/em>.\u003c/p>\n\u003cp>And 89-year-old Agnes Varda is only eight days older than Ivory, but that suffices to make her the oldest Oscar nominee in history. She’s a film innovator who helped invent the French New Wave — her documentaries and feature films dissolve genres and are themselves works of art.\u003c/p>\n\u003cp>So let’s take a quick look at these incredibly prolific careers, starting with the actor who starred in one of the most successful movies in history: \u003cem>The Sound Of Music\u003c/em>.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Christopher Plummer has appeared in more than 200 films, including \u003cem>All The Money In The World, \u003c/em>the one he was just nominated for. In 2011, \u003ca href=\"https://www.npr.org/2011/06/03/136923439/christopher-plummer-after-81-years-a-beginner\">Plummer told NPR\u003c/a> that aging was an asset for a handsome man who hated being typecast as the lead.\u003c/p>\n\u003cp>“Finally I was dissipated enough in my 40s to look like a character actor,” he said. “And I enjoyed being a character actor because, of course, the roles were so much more interesting.”\u003c/p>\n\u003cp>As for Plummer’s elders, Ivory is predicted to win in his category this year. If so, it’ll be his very first Oscar, although he’s been nominated three other times for directing the films \u003cem>A Room With A View\u003c/em>, \u003cem>Howards End\u003c/em> and \u003cem>The Remains Of The Day\u003c/em>.\u003c/p>\n\u003cp>Varda won an honorary Oscar in 2017. She started her own production company in 1977 that enabled her to write, direct, edit and do post-production work on most of her more than 50 films.\u003c/p>\n\u003cp>“So she exercises incredible creative control,” says Rebecca DeRoo, a professor at the Rochester Institute of Technology and author of \u003ca href=\"https://www.npr.org/books/titles/588941153/agnes-varda-between-film-photography-and-art?live=1\">\u003cem>Agnes Varda: Between Film, Photography And Art\u003c/em>\u003c/a>.\u003c/p>\n\u003cp>The Belgian-born director was nominated for the documentary \u003cem>Faces Places\u003c/em>, which she directed with a much younger collaborator, the artist JR. They \u003ca href=\"https://www.npr.org/2017/10/08/555730013/agnes-varda-and-jr-the-cinematic-odd-couple-behind-faces-places\">discussed their movie on NPR\u003c/a> in 2017.\u003c/p>\n\u003cp>“We calculate that we are 55 years difference of age,” Varda said. “And it doesn’t show in the film. … It shows in our faces.”\u003c/p>\n\u003cp>In the 2000 documentary \u003cem>Gleaners And I\u003c/em>, Varda dives into the worlds of people who pick through fields and trash searching for useful or edible scraps. But it’s also a profound personal meditation that touches on the director getting older, says DeRoo.\u003c/p>\n\u003cp>“In one scene she goes to a field where potatoes have been dumped and they’ve grown in the shape of a heart,” she says. “And she uses this as a kind of way to reflect on aging, as she keeps these heart-shaped potatoes in her home. And as they continue to age, they wrinkle, but they also sprout these new shoots and new life.”\u003c/p>\n\u003cp>It’s a vibrant metaphor for the creativity of artists as they age.\u003c/p>\n\u003cp>“You never stop learning how to act, both on-screen and on the stage,” Christopher Plummer \u003ca href=\"https://www.npr.org/2012/11/17/165226043/plummer-portrays-one-of-the-greats-again\">told NPR in 2012\u003c/a>. “I feel like I’m starting all over again. Every sort of decade I feel this, and that’s very satisfying.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Plummer may break his own record as the oldest person to win an acting Oscar this year. And if he’s joined by Agnes Varda and James Ivory, those three wins by three film legends would collectively represent almost two centuries of exemplary movie-making. \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2018 NPR. To see more, visit http://www.npr.org/.\u003cimg decoding=\"async\" src=\"https://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=The+Oscar+Elders%3A+3+Octogenarians+Make+Academy+Award+History&utme=8(APIKey)9(MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004)\">\u003c/div>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13825978/the-oscar-elders-3-octogenarians-make-academy-award-history","authors":["byline_arts_13825978"],"categories":["arts_74","arts_235"],"tags":["arts_2903","arts_1448","arts_1118","arts_596","arts_3698"],"affiliates":["arts_137"],"featImg":"arts_13825979","label":"arts_137"},"arts_13816567":{"type":"posts","id":"arts_13816567","meta":{"index":"posts_1591205157","site":"arts","id":"13816567","score":null,"sort":[1512576054000]},"guestAuthors":[],"slug":"a-month-of-all-things-agnes-varda-yes-please","title":"A Month of All Things Agnès Varda? Yes, Please","publishDate":1512576054,"format":"standard","headTitle":"A Month of All Things Agnès Varda? Yes, Please | KQED","labelTerm":{"site":"arts"},"content":"\u003cp>“I’d say you’ve seen about 88 springtimes,” says famed photographer and muralist JR to Agnès Varda in just one of the many endearing moments in \u003cem>Faces Places\u003c/em>. The film follows Varda — artist, photographer, and of course, patron saint of French New Wave — and JR in an on-the-go documentary that celebrates ordinary people.\u003c/p>\n\u003cp>The two travel through villages producing larger-than-life portraits of the locals they encounter. All the while, the odd couple forms a touching bond of their own. It’s no surprise that the film has opened to ebullient reviews. It uplifts, envelops, and tugs at the heartstrings — all the trappings of what will surely be an enduring classic.\u003c/p>\n\u003cfigure id=\"attachment_13816575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg\" alt=\"Agnès Varda, ‘Faces Places,’ 2017.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Faces Places,’ 2017. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Varda has now seen 89 springtimes. In recognition of her life’s work, she was awarded with an honorary Oscar at the Governors’ Ball this November — the first female director to receive such an award. During a particularly emphatic moment in her acceptance speech, she says, “I’ve been loved and praised… because I try to work to get the essence of cinema; finding a different structure for each film.”\u003c/p>\n\u003cp>To expound, she says, “\u003cem>La Pointe Courte\u003c/em> — double-narration. \u003cem>Cléo from 5 to 7\u003c/em> — real-time. \u003cem>Vagabond\u003c/em> — thirteen continuous and uncontinuous traveling shots. \u003cem>Jane B\u003c/em> — each portrait is a puzzle with missing pieces.” Every one of Varda’s films attempts a different cinematic feat, but they all ultimately point towards the same pervading objective: to revere ordinary tensions and revel in the commonplace. She often refers to herself as “the queen of the margins.” Over the course of her 60-year stint as a filmmaker, she has imparted stories suffused with the pleasures and pitfalls of the periphery. Her characters, like herself, are fringe folks; but through her works, she exalts them.\u003c/p>\n\u003cfigure id=\"attachment_13816571\" class=\"wp-caption aligncenter\" style=\"max-width: 2727px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg\" alt=\"Agnès Varda, 'Cléo from 5 to 7,' 1962.\" width=\"2727\" height=\"2011\" class=\"size-full wp-image-13816571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg 2727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1920x1416.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-520x383.jpg 520w\" sizes=\"(max-width: 2727px) 100vw, 2727px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Cléo from 5 to 7,’ 1962. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of her oeuvre exudes Nouvelle Vague, Varda considers California to be a kindred spirit. In 1967, she touched down in Los Angeles alongside her late husband, filmmaker Jacques Demy, unsure of what to expect, but her love affair with the city began at once. Varda’s fondness for the Golden State was quite literally put on display at the Los Angeles County Museum of Art for the 2013 exhibition entitled, \u003cem>\u003ca href=\"http://www.lacma.org/art/exhibition/agn%C3%A8s-varda-californialand\" rel=\"noopener\" target=\"_blank\">Agnès Varda in Californialand\u003c/a>\u003c/em>. The show restored four of her films and commemorated her time spent in California during the late sixties.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Two of those restored films pay homage to the Bay Area. In \u003cem>Uncle Yanco\u003c/em> (1967), Varda tracks down an estranged Greek emigrant relative, her much-older artist cousin (respectfully referred to as her uncle) who cultivated a bohemian life for himself in Sausalito. Then, in the summer of 1968, Varda covers the demonstration against the imprisonment of activist and co-founder of the Black Panther Party, Huey P. Newton. \u003cem>Black Panthers\u003c/em> (also known as \u003cem>Huey\u003c/em>) was shot on location in Oakland and includes interviews with folks like Kathleen Cleaver and even Newton himself. The documentary records a crucial period in the Bay Area’s turbulent political history.\u003c/p>\n\u003cp>And now, on the heels of Varda’s Oscar, the Berkeley Art Museum and Pacific Film Archive hosts an unofficial month-long Agnès Varda retrospective of sorts. As part of \u003cem>The Art of Cinematography\u003c/em>, a series that champions cinema as a visual art form, BAMPFA screens both \u003cem>\u003ca href=\"https://bampfa.org/event/cl%C3%A9o-5-7-5\" target=\"_blank\" rel=\"noopener\">Cléo from 5 to 7\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/la-pointe-courte-4\" target=\"_blank\" rel=\"noopener\">La Pointe Courte\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>In the former, we follow two hours in the life of an anxious and fiercely superstitious young singer. Cléo has reason to believe she is dying of cancer after an ominous doctor’s appointment prompts her to consult a tarot reader. Both meetings leave her feeling dejected. Despite her palpable fears about her unfortunate fate, she spends the afternoon catching glimpses of herself in every available reflective surface, deducing, “As long as I am beautiful, I’m even more alive than the others.”\u003c/p>\n\u003cfigure id=\"attachment_13816573\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg\" alt=\"Agnès Varda, ‘La Pointe Courte,’ 1955.\" width=\"800\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1920x1931.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1180x1187.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-960x966.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1955. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>La Pointe Courte\u003c/em>, Varda’s very first film effort, is the cleaved tale of a reunited couple, inspired by William Faulkner’s \u003cem>The Wild Palms\u003c/em>. The setting — a Mediterranean fishing port plaited with the sun-streaks and shadow-play — is just as much a character as the dysfunctional lovers.\u003c/p>\n\u003cp>As two of her most beloved works, both \u003ci>Cléo\u003c/i> and \u003cem>La Pointe Courte\u003c/em> make for a perfect introduction to the world of Agnès Varda; and for seasoned fans of the French New Wave genre, the screenings are an opportunity for a refresher. BAMPFA also hosts multiple screening of this year’s \u003cem>\u003ca href=\"https://bampfa.org/event/faces-places\" target=\"_blank\" rel=\"noopener\">Faces Places\u003c/a>\u003c/em>, suddenly making December the Bay Area’s designated month for all things Varda. Extra points if you get a Dutch-Boy haircut to better mark this glorious occasion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Faces Places’ screens at the Berkeley Art Museum and Pacific Film Archive on Dec. 8, 13, 17 and 28; ‘Cléo from 5 to 7’ screens Dec. 9 and 27; and ‘La Pointe Courte’ screens on Dec. 17. For tickets and more information, \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n","blocks":[],"excerpt":"Hot on the heels of her honorary Oscar, BAMPFA pays homage to Agnès Varda's 60 years of filmmaking. ","status":"publish","parent":0,"modified":1705028965,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":14,"wordCount":934},"headData":{"title":"A Month of All Things Agnès Varda? Yes, Please | KQED","description":"Hot on the heels of her honorary Oscar, BAMPFA pays homage to Agnès Varda's 60 years of filmmaking. ","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"A Month of All Things Agnès Varda? Yes, Please","datePublished":"2017-12-06T16:00:54.000Z","dateModified":"2024-01-12T03:09:25.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"path":"/arts/13816567/a-month-of-all-things-agnes-varda-yes-please","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>“I’d say you’ve seen about 88 springtimes,” says famed photographer and muralist JR to Agnès Varda in just one of the many endearing moments in \u003cem>Faces Places\u003c/em>. The film follows Varda — artist, photographer, and of course, patron saint of French New Wave — and JR in an on-the-go documentary that celebrates ordinary people.\u003c/p>\n\u003cp>The two travel through villages producing larger-than-life portraits of the locals they encounter. All the while, the odd couple forms a touching bond of their own. It’s no surprise that the film has opened to ebullient reviews. It uplifts, envelops, and tugs at the heartstrings — all the trappings of what will surely be an enduring classic.\u003c/p>\n\u003cfigure id=\"attachment_13816575\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816575\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg\" alt=\"Agnès Varda, ‘Faces Places,’ 2017.\" width=\"800\" height=\"800\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-800x800.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-160x160.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-768x768.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1020x1020.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1920x1920.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-1180x1180.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-960x960.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-240x240.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-375x375.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-520x520.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Faces-Places_004-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Faces Places,’ 2017. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Varda has now seen 89 springtimes. In recognition of her life’s work, she was awarded with an honorary Oscar at the Governors’ Ball this November — the first female director to receive such an award. During a particularly emphatic moment in her acceptance speech, she says, “I’ve been loved and praised… because I try to work to get the essence of cinema; finding a different structure for each film.”\u003c/p>\n\u003cp>To expound, she says, “\u003cem>La Pointe Courte\u003c/em> — double-narration. \u003cem>Cléo from 5 to 7\u003c/em> — real-time. \u003cem>Vagabond\u003c/em> — thirteen continuous and uncontinuous traveling shots. \u003cem>Jane B\u003c/em> — each portrait is a puzzle with missing pieces.” Every one of Varda’s films attempts a different cinematic feat, but they all ultimately point towards the same pervading objective: to revere ordinary tensions and revel in the commonplace. She often refers to herself as “the queen of the margins.” Over the course of her 60-year stint as a filmmaker, she has imparted stories suffused with the pleasures and pitfalls of the periphery. Her characters, like herself, are fringe folks; but through her works, she exalts them.\u003c/p>\n\u003cfigure id=\"attachment_13816571\" class=\"wp-caption aligncenter\" style=\"max-width: 2727px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg\" alt=\"Agnès Varda, 'Cléo from 5 to 7,' 1962.\" width=\"2727\" height=\"2011\" class=\"size-full wp-image-13816571\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003.jpg 2727w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-800x590.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-768x566.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1020x752.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1920x1416.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-1180x870.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-960x708.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_Cleo-from-5-to-7_003-520x383.jpg 520w\" sizes=\"(max-width: 2727px) 100vw, 2727px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘Cléo from 5 to 7,’ 1962. \u003ccite>(Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>While much of her oeuvre exudes Nouvelle Vague, Varda considers California to be a kindred spirit. In 1967, she touched down in Los Angeles alongside her late husband, filmmaker Jacques Demy, unsure of what to expect, but her love affair with the city began at once. Varda’s fondness for the Golden State was quite literally put on display at the Los Angeles County Museum of Art for the 2013 exhibition entitled, \u003cem>\u003ca href=\"http://www.lacma.org/art/exhibition/agn%C3%A8s-varda-californialand\" rel=\"noopener\" target=\"_blank\">Agnès Varda in Californialand\u003c/a>\u003c/em>. The show restored four of her films and commemorated her time spent in California during the late sixties.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Two of those restored films pay homage to the Bay Area. In \u003cem>Uncle Yanco\u003c/em> (1967), Varda tracks down an estranged Greek emigrant relative, her much-older artist cousin (respectfully referred to as her uncle) who cultivated a bohemian life for himself in Sausalito. Then, in the summer of 1968, Varda covers the demonstration against the imprisonment of activist and co-founder of the Black Panther Party, Huey P. Newton. \u003cem>Black Panthers\u003c/em> (also known as \u003cem>Huey\u003c/em>) was shot on location in Oakland and includes interviews with folks like Kathleen Cleaver and even Newton himself. The documentary records a crucial period in the Bay Area’s turbulent political history.\u003c/p>\n\u003cp>And now, on the heels of Varda’s Oscar, the Berkeley Art Museum and Pacific Film Archive hosts an unofficial month-long Agnès Varda retrospective of sorts. As part of \u003cem>The Art of Cinematography\u003c/em>, a series that champions cinema as a visual art form, BAMPFA screens both \u003cem>\u003ca href=\"https://bampfa.org/event/cl%C3%A9o-5-7-5\" target=\"_blank\" rel=\"noopener\">Cléo from 5 to 7\u003c/a>\u003c/em> and \u003cem>\u003ca href=\"https://bampfa.org/event/la-pointe-courte-4\" target=\"_blank\" rel=\"noopener\">La Pointe Courte\u003c/a>\u003c/em>. \u003c/p>\n\u003cp>In the former, we follow two hours in the life of an anxious and fiercely superstitious young singer. Cléo has reason to believe she is dying of cancer after an ominous doctor’s appointment prompts her to consult a tarot reader. Both meetings leave her feeling dejected. Despite her palpable fears about her unfortunate fate, she spends the afternoon catching glimpses of herself in every available reflective surface, deducing, “As long as I am beautiful, I’m even more alive than the others.”\u003c/p>\n\u003cfigure id=\"attachment_13816573\" class=\"wp-caption alignnone\" style=\"max-width: 800px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-medium wp-image-13816573\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg\" alt=\"Agnès Varda, ‘La Pointe Courte,’ 1955.\" width=\"800\" height=\"805\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-800x805.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-160x161.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-768x772.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1020x1026.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1920x1931.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-1180x1187.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-960x966.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-240x241.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-375x377.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-520x523.jpg 520w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-32x32.jpg 32w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-50x50.jpg 50w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-64x64.jpg 64w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-96x96.jpg 96w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-128x128.jpg 128w, https://cdn.kqed.org/wp-content/uploads/sites/2/2017/12/Varda_La-Pointe-Courte_001-150x150.jpg 150w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cfigcaption class=\"wp-caption-text\">Agnès Varda, ‘La Pointe Courte,’ 1955. \u003ccite>(Photo: Courtesy Berkeley Art Museum and Pacific Film Archive)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>\u003cem>La Pointe Courte\u003c/em>, Varda’s very first film effort, is the cleaved tale of a reunited couple, inspired by William Faulkner’s \u003cem>The Wild Palms\u003c/em>. The setting — a Mediterranean fishing port plaited with the sun-streaks and shadow-play — is just as much a character as the dysfunctional lovers.\u003c/p>\n\u003cp>As two of her most beloved works, both \u003ci>Cléo\u003c/i> and \u003cem>La Pointe Courte\u003c/em> make for a perfect introduction to the world of Agnès Varda; and for seasoned fans of the French New Wave genre, the screenings are an opportunity for a refresher. BAMPFA also hosts multiple screening of this year’s \u003cem>\u003ca href=\"https://bampfa.org/event/faces-places\" target=\"_blank\" rel=\"noopener\">Faces Places\u003c/a>\u003c/em>, suddenly making December the Bay Area’s designated month for all things Varda. Extra points if you get a Dutch-Boy haircut to better mark this glorious occasion.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>‘Faces Places’ screens at the Berkeley Art Museum and Pacific Film Archive on Dec. 8, 13, 17 and 28; ‘Cléo from 5 to 7’ screens Dec. 9 and 27; and ‘La Pointe Courte’ screens on Dec. 17. For tickets and more information, \u003ca href=\"https://bampfa.org/\" target=\"_blank\" rel=\"noopener\">click here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13816567/a-month-of-all-things-agnes-varda-yes-please","authors":["11396"],"categories":["arts_74"],"tags":["arts_2903","arts_1118","arts_596"],"featImg":"arts_13816720","label":"arts"},"arts_13812731":{"type":"posts","id":"arts_13812731","meta":{"index":"posts_1591205157","site":"arts","id":"13812731","score":null,"sort":[1509109214000]},"guestAuthors":[],"slug":"faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france","title":"'Faces Places': A New Wave Filmmaker And A Mural Artist Tear Through France","publishDate":1509109214,"format":"standard","headTitle":"‘Faces Places’: A New Wave Filmmaker And A Mural Artist Tear Through France | KQED","labelTerm":{"term":137,"site":"arts"},"content":"\u003cp>What a joy it is to have a movie like this in our broken lives right now. \u003cem>Faces Places \u003c/em>is the latest celebration of the creative spirit from Agnès Varda, who made her first film in 1954 and is now 89, with no signs of slowing down. Why should she? Films give her vitality, and she returns the favor to the medium.\u003c/p>\n\u003cp>When Varda started her career as a key director of the French New Wave with works like \u003cem>Le Bonheur\u003c/em> and \u003cem>Cleo From 5 to 7\u003c/em>, she helped redefine the public perception of films as more personal and idiosyncratic; subservient to the whims of their makers, instead of merely entertainment vessels. But if the \u003cem>nouvelle vague\u003c/em> artists once set out to make the world their plaything, Varda now allows the world to play with her. In her latest, she travels across rural France with the street artist JR, who serves as co-director and drives a truck that’s also a giant photo booth. The pair visit beaches and factory towns and semi-abandoned villages, turning everyday folks on the street into collaborators on a public art project: snapping photos of faces and putting them on places. “To ask people if we can express our imaginations on their turf,” as she puts it.\u003c/p>\n\u003cp>https://youtu.be/P7rFMO7ODBk\u003c/p>\n\u003cp>Those imaginations can seem twee sometimes, as when they “repopulate” an empty village. But looking closer reveals an air of melancholy. As a gift to Varda, JR pastes a photo of her long-deceased photographer friend Guy Bourdin onto the side of a fallen Nazi-era bunker on a Normandy beach; when his team returns a short while later, the tides have already washed this memorial away. Things and people are forever destined to fade, and it might take more than a few giant photos to preserve someone forever in memory.\u003c/p>\n\u003cp>With his lanky swagger, pork-pie hat and sunglasses permanently affixed to his face, the 34-year-old JR seems — in silhouette, anyway — a cartoonish complement to Varda’s short, stocky frame, red-and-white bowl cut and assortment of colorful sweaters. But their affection for each other as merry pranksters runs deep, and they feed off each other’s energy with a deadpan comic chemistry pitched somewhere between partners-in-crime and a more touching, maternal softness. JR resembles a young Jean-Luc Godard, and Varda evokes this facial memory of her longtime friend both in affection and frustration. The duo reenact the running-through-the-Louvre scene from Godard’s \u003cem>Band of Outsiders\u003c/em>, JR rocketing Varda through the gallery in a wheelchair full-throttle, an act of defiance against age that is also an admission of it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Varda and JR may be creating a subjective reality, and a stream-of-consciousness one. But within it, the duo craft a role for the artist as society’s connector, elevating the stories of everyday people in troubled times. Playing to a bemused and largely agreeable public, they solicit reactions from people, instead of hiding from them. Selfies abound. And there are other guiding forces within the project. Finding new ways to honor women is always on the forefront of Varda’s mind, so instead of putting the images of dockworkers on the sides of massive, colorful shipping crates in the port city of Le Havre, they honor the workers’ wives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Faces Places\u003c/em> truly elevates itself during the closing segment, when Varda takes JR on a special train ride to visit a certain former colleague of hers. What happens there should not be spoiled, but it prompts a moment of deep pain and introspection for the filmmaker, a question of who her true friends and confidants might be once time has stripped away all pretensions. Varda has re-staged her own past onscreen many times in the personal documentaries of her career’s late period, upcycling distant memories in \u003cem>The Beaches of Agnes\u003c/em> and revisiting old friends and haunts in \u003cem>From Here to There\u003c/em>. When you’re thinking like a filmmaker, you can’t help but “stage” every dramatic thing that happens to you. Yet those techniques give a new freedom here, a washing away of past anxieties like the tide at Varda’s favorite beaches. A creative spirit gives herself over to the mercy of the world that gets to keep her creations, and faces the trials ahead with matter-of-fact grace.\u003c/p>\n\n","blocks":[],"excerpt":"Agnès Varda and JR co-direct this documentary, which follows their travels as they turn the lives of the people they meet into public art.","status":"publish","parent":0,"modified":1705029234,"stats":{"hasAudio":false,"hasVideo":false,"hasChartOrMap":false,"iframeSrcs":[],"hasGoogleForm":false,"hasGallery":false,"hasHearkenModule":false,"hasPolis":false,"paragraphCount":8,"wordCount":756},"headData":{"title":"'Faces Places': A New Wave Filmmaker And A Mural Artist Tear Through France | KQED","description":"Agnès Varda and JR co-direct this documentary, which follows their travels as they turn the lives of the people they meet into public art.","ogTitle":"","ogDescription":"","ogImgId":"","twTitle":"","twDescription":"","twImgId":"","schema":{"@context":"http://schema.org","@type":"Article","headline":"'Faces Places': A New Wave Filmmaker And A Mural Artist Tear Through France","datePublished":"2017-10-27T13:00:14.000Z","dateModified":"2024-01-12T03:13:54.000Z","image":"https://cdn.kqed.org/wp-content/uploads/2020/02/KQED-OG-Image@1x.png"}},"sticky":false,"nprByline":"Andrew Lapin","nprImageAgency":"Cohen Media Group","nprStoryId":"555040642","nprApiLink":"http://api.npr.org/query?id=555040642&apiKey=MDAxOTAwOTE4MDEyMTkxMDAzNjczZDljZA004","nprHtmlLink":"http://www.npr.org/2017/10/05/555040642/-faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france?ft=nprml&f=555040642","nprRetrievedStory":"1","nprPubDate":"Thu, 05 Oct 2017 17:01:00 -0400","nprStoryDate":"Thu, 05 Oct 2017 17:01:18 -0400","nprLastModifiedDate":"Thu, 05 Oct 2017 17:01:18 -0400","path":"/arts/13812731/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france","audioTrackLength":null,"parsedContent":[{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003cp>What a joy it is to have a movie like this in our broken lives right now. \u003cem>Faces Places \u003c/em>is the latest celebration of the creative spirit from Agnès Varda, who made her first film in 1954 and is now 89, with no signs of slowing down. Why should she? Films give her vitality, and she returns the favor to the medium.\u003c/p>\n\u003cp>When Varda started her career as a key director of the French New Wave with works like \u003cem>Le Bonheur\u003c/em> and \u003cem>Cleo From 5 to 7\u003c/em>, she helped redefine the public perception of films as more personal and idiosyncratic; subservient to the whims of their makers, instead of merely entertainment vessels. But if the \u003cem>nouvelle vague\u003c/em> artists once set out to make the world their plaything, Varda now allows the world to play with her. In her latest, she travels across rural France with the street artist JR, who serves as co-director and drives a truck that’s also a giant photo booth. The pair visit beaches and factory towns and semi-abandoned villages, turning everyday folks on the street into collaborators on a public art project: snapping photos of faces and putting them on places. “To ask people if we can express our imaginations on their turf,” as she puts it.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/P7rFMO7ODBk'\n title='//www.youtube.com/embed/P7rFMO7ODBk'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Those imaginations can seem twee sometimes, as when they “repopulate” an empty village. But looking closer reveals an air of melancholy. As a gift to Varda, JR pastes a photo of her long-deceased photographer friend Guy Bourdin onto the side of a fallen Nazi-era bunker on a Normandy beach; when his team returns a short while later, the tides have already washed this memorial away. Things and people are forever destined to fade, and it might take more than a few giant photos to preserve someone forever in memory.\u003c/p>\n\u003cp>With his lanky swagger, pork-pie hat and sunglasses permanently affixed to his face, the 34-year-old JR seems — in silhouette, anyway — a cartoonish complement to Varda’s short, stocky frame, red-and-white bowl cut and assortment of colorful sweaters. But their affection for each other as merry pranksters runs deep, and they feed off each other’s energy with a deadpan comic chemistry pitched somewhere between partners-in-crime and a more touching, maternal softness. JR resembles a young Jean-Luc Godard, and Varda evokes this facial memory of her longtime friend both in affection and frustration. The duo reenact the running-through-the-Louvre scene from Godard’s \u003cem>Band of Outsiders\u003c/em>, JR rocketing Varda through the gallery in a wheelchair full-throttle, an act of defiance against age that is also an admission of it.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>","attributes":{"named":{},"numeric":[]}},{"type":"component","content":"","name":"ad","attributes":{"named":{"label":"fullwidth"},"numeric":["fullwidth"]}},{"type":"contentString","content":"\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Varda and JR may be creating a subjective reality, and a stream-of-consciousness one. But within it, the duo craft a role for the artist as society’s connector, elevating the stories of everyday people in troubled times. Playing to a bemused and largely agreeable public, they solicit reactions from people, instead of hiding from them. Selfies abound. And there are other guiding forces within the project. Finding new ways to honor women is always on the forefront of Varda’s mind, so instead of putting the images of dockworkers on the sides of massive, colorful shipping crates in the port city of Le Havre, they honor the workers’ wives.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>But \u003cem>Faces Places\u003c/em> truly elevates itself during the closing segment, when Varda takes JR on a special train ride to visit a certain former colleague of hers. What happens there should not be spoiled, but it prompts a moment of deep pain and introspection for the filmmaker, a question of who her true friends and confidants might be once time has stripped away all pretensions. Varda has re-staged her own past onscreen many times in the personal documentaries of her career’s late period, upcycling distant memories in \u003cem>The Beaches of Agnes\u003c/em> and revisiting old friends and haunts in \u003cem>From Here to There\u003c/em>. When you’re thinking like a filmmaker, you can’t help but “stage” every dramatic thing that happens to you. Yet those techniques give a new freedom here, a washing away of past anxieties like the tide at Varda’s favorite beaches. A creative spirit gives herself over to the mercy of the world that gets to keep her creations, and faces the trials ahead with matter-of-fact grace.\u003c/p>\n\n\u003c/div>\u003c/p>","attributes":{"named":{},"numeric":[]}}],"link":"/arts/13812731/faces-places-a-new-wave-filmmaker-and-a-mural-artist-tear-through-france","authors":["byline_arts_13812731"],"categories":["arts_74"],"tags":["arts_2903","arts_1118","arts_769"],"affiliates":["arts_137"],"featImg":"arts_13812732","label":"arts_137"}},"programsReducer":{"possible":{"id":"possible","title":"Possible","info":"Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. 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