Daguerreotypes / Cinevardaphoto

Daguerreotypes / Cinevardaphoto

The only female director of the French New Wave, Agnès Varda has been called both the movement’s mother and its grandmother. The fact that some have felt the need to assign her a specifically feminine role, and the confusion over how to characterize that role, speak to just how unique her place in this hallowed cinematic movement—defined by such decidedly masculine artists as Jean-Luc Godard and François Truffaut—is. Varda not only made films during the nouvelle vague, she helped inspire it. Over the decades, Varda became a force in art cinema, conceiving many of her films as political and feminist statements, and using a radical objectivity to create her unforgettable characters.

dir. Agnes Varda, France, 1975, digital, 80mins. color, French w/ English subtitles

A classic documentary from Agnes Varda. Daguerreotypes is a wonderfully intimate portrait of the small shops and shopkeepers on a short stretch of the Rue Daguerre, a picturesque street that has been the filmmaker’s home for more than 50 years. Varda has described the film as an archeological study for future sociologists. Varda has lived and worked on the rue Daguerre in Paris’s 14th Arondissement since the 1950s. But it wasn’t until 1974, while at home with her two-year old son, that she turned her camera on her neighbors and began this rich documentary about the street and its inhabitants.

dir. Agnes Varda, France, 1965-2004, 92mins. digital, mins. b/w & color, French w/ English subtitles

Cinevardaphoto is an exceptional triptych of film essays exploring the photographic medium. Varda, who began her career as a photographer before turning to film in the late 50s, approaches her subject from three distinct angles. In the first, Ydessa, The Bears and Etc., Varda muses on a curious, yet haunting art exhibit, “The Teddy Bear Project” curated by Ydessa Hendeles, a daughter of Holocaust survivors that features hundreds of found photos spanning the 20th century; in each one, a teddy bear. In the second essay, Ulysses, she deconstructs a photograph she took in 1954 – a striking image of a man, a child and a goat on the seashore. The final short, Salut les Cubains, constructed entirely from 1,800 photographs taken by Varda on a trip to Cuba in 1962, captures the exuberant spirit in the early days of the Revolution.

$7.00 - $9.00


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