is known as the "Mother of the New Wave" and is usually classified as a "Left Bank". Her husband is Jacques who made "The Autumn" Jacques Demy. It is said that literati are indifferent to each other, but the relationship between the "left bankers" has always been very good. Among them, Varda, Resnais, and Mark are the most popular. In 1953, Chris Mark and Resnais co-produced the short film "Statues Can Die"; in 1955, Varda's debut "Short Angle Affair" was edited by Resnais; in 1956, Mark and Varda co-directed "The Statue". Sunday in Peking"; and "Salute to the Cubans" directed by Varda in 1963 also received great help from Mark and Resnais.
Varda once said in an interview: "There is no doubt that in 1954, the door to modern cinema was opened by me to bring cinema to a new genre. In this new genre of cinema, I must be the only woman. Some kind of In a way I've become a role model, all men and one woman!" She was rude at all. When she said "the only woman", she hesitated for a moment, I guess she probably thought of Duras, but she finished the sentence calmly. This work that opened the door to modern cinema is the famous "Short Angle Affair", which is five years earlier than "Four Hundred Blows" and "Exhausted", so it is also regarded by some as the real pioneering work of the new wave. .
"Short Angle Affair" was inspired by William Faulkner's novel "Wild Palms," which is a bizarre novel in itself and tells two unrelated stories at the same time. So Varda adopted this special structure, narrating the story of a small fishing village and a couple in parallel, just like the counterpoint in music, shooting a small fishing village and a couple, alternating between the two. This model is destined for the audience to be unable to engage in any of the stories, always when you seem to see something, "Bang!", jumping to another screen, creating a Brecht-esque alienation effect. I watched this film with great devotion, but after 20 minutes, I couldn’t help but get distracted, so I had to use another counterpoint: play cards for a while, watch the film for a while, alternately, and finally got through it. 80 minutes. Bazin called the film a "free and pure film", and I had to admit with shame that I was too shallow in Taoism, and I didn't know Mount Tai with my eyesight.
If I had to recommend one of Agnès Varda's most worthy films, I would recommend Cleo from 5 to 7. The film is almost synchronized with the real time, and tells the story of a female singer who learned that she had cancer and what happened while waiting for a diagnosis report for two hours. Except for the tarot divination section at the beginning, the whole film is in color, and then it is all black and white. The discussion of death makes people love life. After the film, the heroine Corinne Marchand also reached the peak of her acting career, so that she was able to compete with Brigitte Bardot, Elizabeth Taylor, Grace Kelly and Marlene Dietrich for a time. Hua Dan in the courtroom. In particular, there is a silent film inserted in the film, also directed by Agnès Varda herself, and the actors are - Godard and Anna Karina! I really didn't expect that Godard, the sunglasses maniac, was such a talented actor, very much like Buster Keaton, so fun. His status in my mind was already unattainable, and now he has climbed a few steps again.
In 1965, Agnès Varda made "Happiness," probably the most depressing film I've watched this year. I was immersed in despair over marriage and love all day. The story is simply that in a happy family, the husband loves both his wife and children, but he still finds a lover. He told his lover, I have a wife and I love her but I also love you, and the lover accepted; he told his wife, I have a lover and I love her but also love you, and the wife also accepted. Later, the wife died knowingly, and the lover took advantage of the situation to fill the gap, so it was a happy family again. What more can I say? Anyway, I think if a man doesn't have the consciousness to become Nicholas Tse, he shouldn't always want to be Edison Chen. Aside from this invincible plot, the film's editing skills are also worth pondering. A large number of monochromatic mirrors and jumps (especially the scene where the husband picks up his drowning wife) can be described as enjoyable. The acclaimed "dropping chopsticks" scene in "Evil in the East and the Poison in the West" is nothing more than a trick by comparison.
1985's "The Wanderer" is also an excellent work, and moved me more than Kerouac's "On the Road." As for the plot, you can imagine that McRefugee froze to death in front of the subway station along the road... In the film, someone said while having breakfast that I really envy the homeless girl, she is very free. I think it's best not to say such things. If you can't endure hunger and freezing, being raped or even freezing to death in a ravine, then it would be too cruel to say the word "envy".
Agnes Varda came to China as early as 1957. Chris Mark came to China for 56 years to film the documentary "Sunday in Beijing", and Varda helped him make the title subtitles full of typos. For example, the title of the movie was changed to "The Stars of Beijing", which was like the 1960s. Martian text. However, Mark felt that this was already very good, and he spread it everywhere, so the following year Agnès Varda accepted the invitation of Premier Zhou Enlai in the name of "China Hand" to come to China to shoot a documentary film for two months, which was earlier than Antonioni. too much. In 2005, due to the French film retrospective in Beijing, Agnès Varda once again set foot on Chinese soil.
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