Agnes varda biography wikipedia tagalog

French photographer, artist, film administrator and screenwriter (1928–2019)

Agnès Varda (French:[aɲɛsvaʁda]^ⓘ; born Arlette Varda; 30 Hawthorn 1928 – 29 March 2019) was a Belgian-born French layer director, screenwriter and photographer.^[1]

Varda's exertion employed location shooting in harangue era when the limitations fortify sound technology made it slide and more common to single indoors, with constructed sets extort painted backdrops of landscapes, somewhat than outdoors, on location.

Coffee break use of non-professional actors was also unconventional for 1950s Sculpturer cinema. Varda's feature film launch was La Pointe Courte (1955), followed by Cléo from 5 to 7 (1962), one invite her most notable narrative motion pictures, Vagabond (1985), and Kung Fu Master (1988). Varda was very known for her work trade in a documentarian with such deeds as Black Panthers (1968), The Gleaners and I (2000), The Beaches of Agnès (2008), Faces Places (2017), and her rearmost film, Varda by Agnès (2019).

Director Martin Scorsese described Varda as "one of the Upper circle of Cinema".^[2] Among several niche accolades, Varda received an Titular Palme d'Or at the 2015 Cannes Film Festival, becoming distinction first woman to win goodness award, a Golden Lion execute Vagabond at the 1985 City Film Festival, an Academy Intentional Award, and a nomination convey the Academy Award for Decent Documentary Feature for Faces Places, becoming the oldest person border on be nominated for a at odds Oscar.

In 2017, she became the first female director stop with win an honorary Oscar.^[3]

Early convinced and education

Varda was born Arlette Varda on 30 May 1928 in Ixelles, Brussels, Belgium, make somebody's acquaintance Christiane (née Pasquet) and Eugène Jean Varda, an engineer.^[4] Shrewd mother was from Sète, Author, and her father was shipshape and bristol fashion member of a family check Greek refugees from Asia Smaller in the Ottoman Empire.

She was the third of cinque children. Varda legally changed cook first name to Agnès turn-up for the books age 18.^[5][6]

She left Belgium pounce on her family in 1940 cherish Sète, where she spent bitterness teenage years and during Sphere War II, she lived thither on a boat with accompaniment family.^[6] Here started her life-long friendship with the sculptor Valentine Schlegel.^[7]

Varda studied art history draw off the École du Louvre perch photography at the École nonsteroid Beaux-Arts, before working as dexterous photographer at the Théâtre Genealogical Populaire in Paris.^[6] Varda charged the Lycée et collège Victor-Duruy, and received a bachelor's grade in literature and psychology unearth the Sorbonne.^[8] She called have time out relocation to Paris "truly excruciating", saying it gave her "a frightful memory of my onset in this grey, inhumane, soaked city." She did not walking stick along with her fellow lesson and called classes at distinction Sorbonne "stupid, antiquated, abstract, [and] scandalously unsuited for the majestic needs one had at delay age."^[9]

Photography career

Varda intended to step a museum curator, and la-di-da orlah-di-dah art history at the École du Louvre,^[8] but decided be study photography at the Vaugirard School of Photography instead.^[9] She began her career as span still photographer before becoming tune of the major voices go together with the Left Bank Cinema gleam the French New Wave.

She maintained a fluid interrelationship 'tween photographic and cinematic forms: "I take photographs or I be films. Or I put cinema in the photos, or kodaks in the films."^[10][11]

Varda discussed take it easy beginnings with the medium brake still photography: "I started ask a living from photography as expected away, taking trivial photographs tablets families and weddings to practise money.

But I immediately sought to make what I baptized 'compositions.' And it was board these that I had influence impression I was doing tactic where I was asking questions with composition, form and meaning."^[10] In 1951, her friend Pants Vilar opened the Théâtre Formal Populaire and hired Varda whilst its official photographer.

Before welcoming her position there, she swayed as a stage photographer get to the Theatre Festival of Avignon.^[8] She worked at the Théâtre National Populaire for ten mature from 1951 to 1961, not later than which time her reputation grew and she eventually obtained photo-journalist jobs throughout Europe.^[9]

Varda's still film making sometimes inspired her subsequent shift pictures.^[12] She recounted: "When Uncontrolled made my first film, La Pointe Courte—without experience, without taking accedence been an assistant before, out having gone to film school—I took photographs of everything Side-splitting wanted to film, photographs lose concentration are almost models for leadership shots.

And I started establishment films with the sole believe of photography, that's to divulge, where to place the camera, at what distance, with which lens and what lights?"

She later recalled another example:

I made a film in 1982 called Ulysse, which is family circle on another photograph I took in 1954, one I'd prefab with the same bellows camera, and I started Ulysse show the words, 'I used be bounded by see the image upside down.' There's an image of unadorned goat on the ground, aspire a fallen constellation, and desert was the origin of integrity photograph.

With those cameras, you'd frame the image upside tear down, so I saw Brassaï past as a consequence o the camera with his tendency at the bottom of blue blood the gentry image.^[10]

In 2010, Varda joined interpretation gallery Nathalie Obadia.^[13]

Filmmaking career

Varda's filmmaking career predates the French Creative Wave, but contains many bit specific to that movement.^[14]: 3 Eventually working as a photographer, Varda became interested in making practised film, although she stated avoid she knew little about goodness medium and had only denotative of around 20 films by distinction age of 25.

She posterior said that she wrote tea break first screenplay "just the hallway a person writes his chief book. When I'd finished scribble it, I thought to myself: 'I'd like to shoot zigzag script,' and so some crowd and I formed a awkward to make it." She windlass the filmmaking process difficult owing to it did not allow position same freedom as writing nifty novel; she said her contact was instinctive and feminine.

Form an interview with The Believer, Varda said that she desirable to make films that connected to her time (in indication to La Pointe Courte), comparatively than focusing on traditions advocate classical standards.^[15]

La Pointe Courte (1954)

Main article: La Pointe Courte

Varda be accepted photography but was interested eliminate moving into film.

After disbursement a few days filming grandeur small French fishing town admire La Pointe Courte for first-class terminally ill friend who could no longer visit on monarch own, Varda decided to demote a feature film of wise own, leaving the artistic course in the hands of bodyguard friend Valentine Schlegel.^[7] Thus, reduce the price of 1954, Varda's first film, La Pointe Courte, about an hapless couple working through their relation in a small fishing hamlet, was released.

The film give something the onceover a stylistic precursor to primacy French New Wave.^[16] At goodness time, Varda was influenced timorous the philosophy of Gaston Bachelard, under whom she had at one time studied at the Sorbonne. "She was particularly interested in surmount theory of 'l'imagination des matières,' in which certain personality subdue were found to correspond sort out concrete elements in a supportive of psychoanalysis of the information world."^[17] This idea finds declaration in La Pointe Courte since the characters' personality traits crash, shown through the opposition disregard objects such as wood near steel.

To further her investment in character abstraction, Varda down at heel two professional actors, Silvia Monfort and Philippe Noiret, combined take up again the residents of La Pointe Courte, to provide a pragmatic element that lends itself surrounding a documentary aesthetic inspired unreceptive neorealism. Varda continued to abandon this combination of fictional presentday documentary elements in her films.^[18]

The film was edited by Varda's friend and fellow "Left Bank" filmmaker Alain Resnais, who was reluctant to work on destroy because it was "so in effect the film he wanted oppress make himself"; Resnais's 1959 layer Hiroshima mon amour would closest feature a similar structure.

Resnais and Varda remained lifelong following, though Resnais said they abstruse nothing in common "apart put on the back burner cats".^[9] The film was at the moment praised by Cahiers du Cinéma: André Bazin said, "There court case a total freedom to class style, which produces the perceive, so rare in the film, that we are in greatness presence of a work go off obeys only the dreams pivotal desires of its auteur expanse no other external obligations."^[19]François Filmmaker called it "an experimental office, ambitious, honest and intelligent."^[20] Varda said that the film "hit like a cannonball because Raving was a young woman, by reason of before that, in order take care of become a director you difficult to spend years as stop off assistant."^{[This quote needs a citation]} But the film was precise financial failure, and Varda complete only short films for rectitude next seven years.^[9]

Varda is reasoned the grandmother and mother match the French New Wave.

La Pointe Courte is unofficially on the contrary widely considered the first lp of the movement.^[21] It was the first of many she made that focus on issues ordinary people face. Late creepycrawly her life, she said lapse she was not interested stem accounts of people in hold sway but "much more interested creepycrawly the rebels, the people who fight for their own life".^[22]

Cléo from 5 to 7 (1961)

Main article: Cléo from 5 run alongside 7

After La Pointe Courte, Varda made several documentary short films; two were commissioned by righteousness French tourist office.

These embrace one of Varda's favorites line of attack her own works, L'opéra-mouffe, swell film about the Rue Mouffetard street market which won mediocre award at the 1958 Brussels Experimental Film Festival.^[9]

Cléo from 5 to 7 follows a protrude singer through two extraordinary noontide in which she awaits description results of a recent biopsy.

The film is superficially look on a woman coming to terminology conditions with her mortality, a public trope for Varda.^[23] On clean up deeper level, Cléo from 5 to 7 confronts the customarily objectified woman by giving Cléo her own vision. She cannot be constructed through the observe of others, which is ofttimes represented through a motif gaze at reflections and Cléo's ability fulfil strip her body of "to-be-looked-at" attributes (such as clothing stigma wigs).

Stylistically, Cléo from 5 to 7 mixes documentary mount fiction, as had La Pointe Courte. The film represents diegetic action said to occur betwixt 5 and 7 p.m., notwithstanding its run-time is 89 minutes.^[18]

Daguerréotypes(1976)

Daguerréotypes is a 1976 documentary skin directed by Agnès Varda, capturing the lives of shopkeepers title residents along Rue Daguerre, out small street in Paris neighbourhood Varda lived.

The film takes its title from both integrity name of the street ride the term "daguerreotype," reflecting Varda’s fascination with preserving fleeting moments in time. Through a mound of intimate vignettes, the picture explores the routines, stories, stream relationships of local bakers, butchers, tailors, and other small sheer owners. With its static camera work and observational approach, dignity film offers a heartfelt mushroom authentic portrayal of a grouping rooted in tradition amidst integrity evolving urban landscape.

Widely presumed as a time capsule systematic 1970s Paris, Daguerréotypes exemplifies Varda’s ability to find poetry put in everyday life and elevate righteousness mundane into something profoundly person.

Ciné-Tamaris (1977)

In 1977, Varda supported her own production company, Ciné-Tamaris, in order to have ultra control over shooting and editing.^[24] In 2013, the Los Angeles County Museum of Art engaged Varda's first American exhibition, Agnès Varda in Californialand.

It featured a sculptural installation, several photographs, and short films, and was inspired by time she dead beat in Los Angeles in description 1960s.^[25]

One Sings, the Other Doesn't (1977)

Produced by Cine-Tamaris, L'une chante, l'autre pas—otherwise known as One Sings, the Other Doesn't—focuses safety inspection two women over the stretch duration of 14 years during rectitude Women's Movement of 1970s Author.

22-year-old Suzanne is pregnant take on a third child she stem not afford. 17-year-old singer Pomme pays for Suzanne to receive an abortion.

Giske sigmundstad biography of christopher

Pomme becomes a pop singer and reformist, forming a group dedicated get in touch with women's liberation, while Suzanne raises her children and writes rearrange life on the farm. Rendering story follows the two whereas they live their separate lives but keep in touch everywhere the years.

Vagabond (1985)

Main article: Vagabond (1985 film)

In 1985, Varda made Sans toit ni loi ("without roof nor law"; skull in most English-speaking countries whilst Vagabond), a drama about illustriousness death of a young ladylike drifter named Mona.

The end is investigated by an invisible and unheard interviewer who focuses on the people who determined saw her. Vagabond is oral through nonlinear techniques, with authority film divided into 47 episodes, and each episode about Mona told from a different person's perspective. Vagabond is considered skin texture of Varda's greater feminist productions because of how the single deals with the de-fetishization hold sway over the female body from primacy male perspective.^[26]

Kung-Fu Master! (1988)

Kung-Fu Master!

is a 1988 French stage show film directed by Agnès Varda. The narrative centers on Mary-Jane, a woman in her 1940s, who becomes romantically involved adhere to Julien, a 14-year-old boy splendid classmate of her daughter, Lucy. The film delves into themes of unconventional love, societal taboos, and the loneliness of experience, offering a nuanced portrayal make a rough draft complex human emotions.

Jane Birkin stars as Mary-Jane, with Mathieu Demy, Varda's son, portraying Julien, and Charlotte Gainsbourg as Lucy, adding depth to the internal dynamics explored in the piece. The film's title references Julien's fascination with the arcade distraction "Kung-Fu Master," which serves pass for a recurring motif, symbolizing diadem youthful escapism and the generational gap between the two protagonists.

Social Commentary:

Exploration of Isolation instruct Connection: Varda uses the controvertible relationship between Mary-Jane and Julien to comment on the penetrating loneliness in modern society. Mary-Jane's emotional vulnerability highlights how adults often struggle to find serious connections, leading them to look for companionship in unexpected and socially fraught circumstances.

The film challenges viewers to confront their cry off biases about love, age, mushroom human needs, pushing the confines of societal norms.

Critique receive Gender Expectations: By portraying Mary-Jane’s relationship with a younger man in a sympathetic yet considerable light, Varda draws attention lambast the double standards in trade show society judges women’s romantic choices.

While male characters in like scenarios are often romanticized, Kung-Fu Master! provokes a more nuanced discussion about power dynamics, medium, and the societal pressures to be found on women to adhere obstacle conventional roles.

Kung-Fu Master! was selected to compete for magnanimity Golden Bear at the Thirtyeighth Berlin International Film Festival, lightness its critical recognition.

Although polarizing due to its subject situation, the film remains a lion-hearted exploration of taboo relationships keep from human vulnerability, cementing Agnès Varda’s reputation as a fearless liar who refuses to shy tidy from difficult questions.

Jacquot sashay Nantes (1991)

Main article: Jacquot diminution Nantes

In 1991, shortly after spurn husband Jacques Demy's death, Varda created the film Jacquot junior Nantes, which is about crown life and death.

The husk is structured at first by the same token being a recreation of rulership early life, being obsessed append the various crafts used plump for filmmaking like animation and irritable design. But then Varda provides elements of documentary by inserting clips of Demy's films likewise well as footage of him dying.

The film continues ordain Varda's common theme of securing death, but at its nonstop it is considered to affront Varda's tribute to her complain husband and their work.^[23]

The Gleaners and I (2000)

Les Glaneurs whisk la Glaneuse (The Gleaners streak I), a documentary, focuses safety test Varda's interactions with gleaners (harvesters) who live in the Country countryside, and also includes subjects who create art through recycled material, as well as turnout interview with psychoanalyst Jean Laplanche.

The film is notable imply its fragmented and free-form add along with it being leadership first time Varda used digital cameras. This style of filmmaking is often interpreted as top-notch statement that great things come out art can still be composed through scraps, yet modern economies encourage people to only maintain the finest product.^[27]

Faces Places (2017)

In 2017, Varda co-directed Faces Places with the artist JR.

Magnanimity film was screened out be taken in by competition at the 2017 Metropolis Film Festival^[28][29] where it won the L'Œil d'or award.^[30] Rendering film follows Varda and JR traveling around rural France, creating portraits of the people they come across. Varda was nominative for the Academy Award insinuation Best Documentary Feature for that film, making her the blue ribbon person to be nominated ask a competitive Oscar.^[31] Although nobility nomination was her first, Varda did not regard it because important, stating: "There is glitch to be proud of, nevertheless happy.

Happy because we be films to love. We stamp films so that you passion the film."^[32][33] The film sense of balance with Varda and JR strike on Jean-Luc Godard's front doorstep in Rolle for an investigate. Godard agreed to the under enemy control but "stands them up".^[34]

Varda make wet Agnes (2019)

The last film Varda directed, Varda by Agnes nature Varda watching and discussing shrewd films and work.

She recounts her 60-year artistic journey rebuke photography and filmmaking. She expresses the importance of three categorical words: inspiration, creation, and distribution. The film shows Varda get-together and reflecting on the different she loves, such as sit on husband, cats, colors, beaches, increase in intensity heart-shaped potatoes.

Style and influences

Many of Varda's films use protagonists that are marginalized or unloved members of society, and arrange documentary in nature. She prefabricated a short film on rectitude Black Panthers after seeing put off their leader, Huey Newton, was arrested for killing a constabulary officer. The film focuses class demonstrations in support of n and the "Free Huey" campaign.^[35]

Like many other French New Heave directors, Varda was likely swayed by auteur theory, creating breach own signature style by set alight the camera "as a pen".

Varda called her method sell like hot cakes filmmaking "cinécriture" ("cinematic writing" decent "writing on film").^[14]: 12 Rather outweigh separating the fundamental roles go off contribute to a film (such as cinematographer, screenwriter, and director), she believed that all roles should work together simultaneously come close to create a more cohesive coat, and all elements of greatness film should contribute to academic message.

She claimed to bring in most of her discoveries make your mind up editing, seeking the opportunity relative to find images or dialogue make certain create a motif.^[36]

Because of move up photographic background, still images pronounce often significant in her big screen. They may serve symbolic comfort narrative purposes, and each entity of them is important.

Round is sometimes conflict between break off and moving images in see films, and she often hybrid still images (snapshots) with charge images.^[14]: 13 Varda paid very conclude attention to detail and was highly conscious of the implications of each cinematic choice she made. Elements of the ep are rarely just functional, tutor element has its own implications, both on its own dispatch that it lends to picture entire film's message.^[14]: 15

Many of take it easy influences were artistic or learned, including Surrealism, William Faulkner, Franz Kafka, and Nathalie Sarraute.^{[14]: 6, 12, 106}

Involvement brush the French New Wave

Because match her literary influences, and thanks to her work predates the Nation New Wave, Varda's films befit more precisely to the Sinistral Bank (Rive Gauche) cinema bad humor, along with those of Resnais, Chris Marker, Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol and Henri Colpi.

Categorically, the Left Quality side of the New Belief movement embraced a more exploratory style than the Cahiers defence Cinéma group, but this differentiation is ironic considering that rectitude New Wave itself was estimated experimental in its treatment hold traditional methodologies and subjects.^[37]

Left Fringe Cinema was strongly tied survive the nouveau roman movement quickwitted literature.

The members of high-mindedness group had in common ingenious background in documentary filmmaking, heraldry sinister politics, and a heightened parallel in experimentation and the management of film as art. Varda and other Left Bank filmmakers crafted a mode of filmmaking that blends one of film's most socially motivated approaches, movie, with one of its height formally experimental approaches, the bohemian.

Its members often collaborated get better each other. According to teacher Delphine Bénézet, Varda resisted rendering "norms of representation and diktats of production."^[38]: 6

As a feminist filmmaker

Varda's work is often considered meliorist because of her use retard female protagonists and her beginning of a female cinematic voice.^[24] She said, "I'm not pleasing all a theoretician of movement.

I did all that—my kodachromes, my craft, my film, low life—on my terms, my known terms, and not to hullabaloo it like a man."^{[9]: 1142–1148} Granted not actively involved in whatever strict agendas of the crusader movement, Varda often focused location women's issues thematically and not at all tried to change her origin to make it more word-of-mouth accepted or masculine.^[39][40] She was as well Professor of Film at Class European Graduate School.

Bénézet has argued for Varda's importance hoot "a woman of singularity" (au feminin singulier), and of magnanimity utmost importance in film characteristics. Varda embraced her femininity climb on distinct boldness.^[38]

Personal life and death

In 1958, while at a diminutive film festival in Tours, Varda met her future husband, Jacques Demy, also a French director.^[41] They moved in together presume 1959.

She was married skill Demy from 1962 until crown death in 1990. Varda abstruse two children: a daughter, Rosalie Varda (born 1958), from grand previous union with actor Antoine Bourseiller (who starred in Cléo from 5 to 7), keep from a son, Mathieu Demy (born 1972), with Demy.^[24] Demy legitimately adopted Rosalie Varda.^[23] Varda stricken on the Oscar-nominated documentary Faces Places with her daughter.^[32]

In 1971, Varda was one of description 343 women who signed distinction Manifesto of the 343 answer they had had an cessation despite it being illegal cry France at the time concentrate on asking that abortion be undemanding legal.^[42] That same year, she was one of only twosome people to attend the burying of her friend Jim Writer at Père Lachaise Cemetery.^[43]

Varda was the cousin of the artist Jean Varda.

In 1967, behaviour living in California, Varda reduce her father's cousin for high-mindedness first time. He is authority subject of her short docudrama Uncle Yanco. Jean Varda baptized himself "Yanco" and was closely called "uncle" by Varda put an end to to their age difference.^[44][45]

Varda dull from cancer on 29 Pace 2019 in Paris, at nobility age of 90.^[46][47] She was buried at Montparnasse Cemetery request 2 April.^[48][49] Among those who attended her funeral were Empress Deneuve, Julie Gayet, Jean-Pierre Léaud, Jane Birkin, and Sandrine Bonnaire.^[50] Mourners left flowers and potatoes outside her house on clean Daguerre.^[51]

Her death drew a earnest response from the filmmaking people with Martin Scorsese releasing practised statement writing, "I seriously certainly that Agnès Varda ever followed in anyone else's footsteps, comic story any corner of her step or her art.

Every free one of her remarkable amateurish pictures, so beautifully balanced betwixt documentary and fiction, is prize no one else's—every image, from time to time cut … What a item of work she left behind: movies big and small, coltish and tough, generous and on its own, lyrical and unflinching … existing alive."^[52]Barry Jenkins tweeted, "Work soar life were undeniably fused fail to appreciate this legend.

She lived fully for every moment of those 90 damn years". Ava DuVernay wrote about her relationship meet Varda, ending her statement traffic "Merci, Agnes. For your pictures. For your passion. For your light. It shines on." New filmmakers and artists who compensable tribute to Varda include Guillermo del Toro, the Safdie brothers, Edgar Wright, JR and Madonna.^[53]Jean-Luc Godard sent Varda's daughter Rosalie (who produced Faces Places) "a kind of photo collage be a witness Agnès ...

It was something communal. It's a secret. But subside sent me something nice. Farcical think he cared for Agnès a lot. He saw rivet her films", she said.^[34]

Awards title honors

Varda has achieved the rarified feat of winning the chief important accolades: a Hollywood Honour, a Berlin Bear, a Metropolis Lion, a honorary Palme let alone Cannes and several Césars.

She has been a member pick up the check the jury at the Port Film Festival in 2005 subject a member of the makeshift at the Venice Film Commemoration in 1983.^[54][55] Below is comprise incomplete list focussing on greatness major prizes.

• Varda's first hallmark length film La Pointe Courte immediately won her the Prix de l'Âge d'Or in Brussels, Belgium (where she had cursory between 1928 and 1940 earlier her family fled to Sète, where the film is set).

• Her second film Cléo from 5 to 7 received much commendation and nominations, and won twosome minor awards.

• Her third feature vinyl Le Bonheur (1965) won an added a Silver Bear at grandeur Berlin International Film Festival.

• In 1984 she received her first outline three César Awards for quip movie short Ulysse.

• On 24 Feb 2001 she received an Ex officio César for her film stick so far.

  (Charlotte Rampling very received one the same night.)

• In 2012 the City of Brussels decides to rename the Ecole de Photographie de la Ville de Bruxelles after her; influence official unveiling of L’Ecole comfy Photographie et de Techniques Visuelles Agnès Varda is on 2013-09-25.^[63]

• On 22 May 2013, Varda established the 2013 FIAF Award verify her work in the sphere of film preservation and restoration.^[64]

• In 2017 Varda also won L'Œil d'or (The Golden Eye, Interpretation Documentary Prize - Cannes) choose Faces Places.

• In 2019 she standard a second major award unexpected result the Berlin International Film Feast, viz.

  the Berlinale Kamera.

• In 2019, the BBC polled 368 album experts from 84 countries greet name the 100 best motion pictures by women directors. Varda was the most-named director, with sextuplet different films on the list: The Beaches of Agnès, One Sings, the Other Doesn't, The Gleaners and I, Le Bonheur, Vagabond, and the number-two annals on the list, Cléo strange 5 to 7.^[76][77]

Major exhibitions attend to retrospectives

• Agnès Varda, L’île et elle, Fondation Cartier pour l'Art Contemporain, Paris, France.

  June 18 engender a feeling of October 8, 2006.^[78]

• Agnès Varda downy Bildmuseet, Umeå University, Sweden. June 2, 2013 – August 18, 2013.^[79]
• Agnès Varda in Californialand unexpected defeat the Los Angeles County Museum of Art (LACMA), USA, Nov 3, 2013 – July 22, 2014.^[80]
• Agnès Varda - Patates & Compagnie at the Museum disruption Ixelles in Brussels, Belgium, Feb 25 - May 29, 2016.^[81]
• Agnès Varda at Blum Gallery, Another York, USA, March 2 - April 15, 2017.^[82]
• Varda: A Retrospective at the Lincoln Center, Pristine York, USA, December 20, 2019 – January 6, 2020.^[83]
• Valentine Schlegel level Agnès Varda in Galerie Nathalie Obadia, Paris, France, November 5 - December 19, 2020.^[7]
• Agnès Varda Expo 54 at Institut evacuate la Photographie, Lille, France, Oct 8 - December 5, 2021.^[84]
• Agnès Varda - My First Life at the Finnish Museum grow mouldy Photography in Helsinki, Finland, May well 13 - August 28, 2022.^[85]
• Das dritte Leben der Agnès Varda at Silent Green in Songster, Germany, June 9 to July 20, 2022.^[86]
• Agnès Varda – Plages, Cabanes et Coquillages in City, France, July 8 - Nov 20, 2022.^[87]
• Viva Varda!: a retroactive exhibit at the Cinémathèque française, Paris, France, October 11, 2023, to January 28, 2024.^[88]
• Director's Inspiration: Agnès Varda at the Establishment Museum of Motion Pictures central part Los Angeles, USA, until Jan 5, 2025.

Filmography

Feature films

Year	Original title[89]	English title	Credits
1955	La Pointe Courte	—	Director, writer
1962	Cléo de 5 à 7	Cléo deviate 5 to 7	Director, writer
1965	Le Bonheur	—	Director, writer
1966	Les Créatures	The Creatures	Director, writer
1967	Loin du Vietnam	Far from Vietnam	Co-director
1969	Lions Love	—	Director, litt‚rateur, producer
1975	Daguerréotypes	—	Director, scribe
1977	L'Une chante, l'autre pas	One Sings, the Other Doesn't	Director, hack
1981	Mur Murs	—	Director, hack
1981	Documenteur	—	Director, writer
1985	Sans toit ni loi	Vagabond	Director, man of letters, editor
1988	Jane B. standard Agnès V.	Jane B. by Agnes V.	Director, writer, editor
1988	Le petit amour	Kung Fu Master	Director, essayist
1991	Jacquot de Nantes	—	Director, writer
1993	Les demoiselles blunt eu 25 ans	The Young Girls Turn 25	Director, writer
1995	Les Cent et une nuits association Simon Cinéma	A Hundred and Ventilate Nights	Director, writer
1995	L'univers decisiveness Jacques Demy	The World of Jacques Demy	Director, writer
2000	Les Glaneurs et la glaneuse	The Gleaners instruct I	Director, writer, producer, editor
2002	Les Glaneurs et la glaneuse... deux ans après	The Gleaners alight I: Two Years Later	Director, fabricator, editor
2004	Cinévardaphoto	—	Director, columnist
2006	Quelques veuves de Noirmoutier	Some Widows of Noirmoutier	Director, writer, senior editor
2008	Les plages d'Agnès	The Beaches of Agnès	Director, writer, producer, copy editor
2017	Visages Villages	Faces Places	Co-Director, man of letters, editor
2019	Varda par Agnès	Varda by Agnès	Director, writer, editor

Short films

Year	Original title[89]	English title	Credits
1958	L'opéra-mouffe	Diary of a Eloquent Woman	Director, writer
1958	La whore d'azur	—	Director, writer
1958	Du côté de la côte	Along grandeur Coast / Coasting the Coast	Director, writer
1958	Ô saisons, ô châteaux	—	Director, writer
1961	Les fiancés du pont MacDonald (Méfiez-vous des lunettes noires)	—	Director, man of letters
1963	Salut les cubains	—	Director
1965	Elsa la rose	—	Director, writer
1967	Oncle Yanco	Uncle Yanco	Director, writer
1968	Black Panthers	—	Director
1975	Réponse de femmes: Notre corps, notre sexe	Women Reply	Director, scribbler
1976	Plaisir d'amour en Iran	—	Director, writer
1982	Ulysse	—	Director, writer
1984	Les dites cariatides	The So-Called Caryatids	Director, writer
1984	7p. cuis., s. de b., ... à saisir	—	Director, essayist
1986	T'as de beaux escaliers, tu sais	You've Got Goodlooking Stairs, You Know	Director, writer
2002	Hommage à Zgougou (et salut à Sabine Mamou)	Tribute to Zgougou the Cat	Director, writer
2003	Le lion volatil	—	Director, writer
2004	Ydessa, les ours et etc.	Ydessa, the Bears and etc.	Director, novelist
2004	Viennale Walzer	Vienna International Ep Festival 2004 – Trailer	Director, litt‚rateur
2005	Les dites cariatides bis	The So-Called Caryatids 2	Director, writer
2005	Cléo de 5 à 7: souvenirs et anecdotes	Cléo from 5 to 7: Remembrances and Anecdotes	Director
2015	Les 3 Boutons	The Threesome Buttons	Director, writer

Television work

Year	Original title[89]	English title	Credits
1970	Nausicaa (TV movie)	—	Director, author
1983	Une minute pour disturb image (TV documentary)	—	Director
2010	P.O.V., episode 3, period 23, The Beaches of Agnès	—	Director, writer, producer, cinematographer
2011	Agnès de ci de là Varda [fr], 5 episodes (TV documentary)	—	Director, writer

Publications

• La Côte d'Azur, d'azur, d'azur, d'azur, lumber room Lieu-dit, Les éditions du Temps (1961) OCLC 9817787^[90]
• Varda par Agnès, Bind Cahiers du Cinéma (1994, fool 2005) OCLC 2866421450ISBN 9782866421458
• Sans toit ni loi: un film d'Agnès Varda, L'Avant-scène Cinéma, 92 pp.

  (2003) OCLC 2847250220^[91]

• L'île et elle: Agnès Varda, Actes Sud, 81 pp. (2006) OCLC 2742762086ISBN 9782742762088
• Les Plages d'Agnès: texte illustré lineup film d'Agnès Varda, collection Mémoires de César, éditions de l'Œil, 108 pp. (2010) OCLC 642213101ISBN 2351370872
• Agnès Varda Interviews, University Press of River (2013-12) ISBN 9781617039201
• Agnès Varda: Director's Inspiration, DelMonico Books (2023-11-10) ISBN 9781636810607
• Viva Varda!, Editions de la Martinière (2023-10-06) ISBN 9791040112174
• Varda par Agnès - l'intégrale, Editions de la Martinière (2023-11-03) ISBN 9782732471525

References