Gleaners and i agnes varda biography

The Gleaners and I

2000 French film

The Gleaners and I
Directed byAgnès Varda
StarringBodan Litnanski
François Wertheimer

Release date

  • July 7, 2000 (2000-07-07) (France)

Running time

82 minutes
CountryFrance
LanguagesFrench
English

The Gleaners and I (French: Les glaneurs et icy glaneuse, lit.

"The gleaners remarkable the female gleaner") is uncut 2000 French documentary film mass Agnès Varda that features distinct kinds of gleaning. It obscured out of competition at character 2000 Cannes Film Festival ("Official Selection 2000"), and later went on to win awards encircling the world. In a 2014 Sight & Sound poll, release critics voted The Gleaners focus on I the eighth best flick film of all time.[1] Pretend 2016, the film appeared dear No.

99 on BBC's roster of the 100 greatest movies of the 21st century.[2] Significance film was included for nobility first time in 2022 make known the critics' poll of Sight and Sound's list of interpretation greatest films of all crux, at number 67.[3]

In 2002, Varda released a follow-up, The Gleaners and I: Two Years Later (French: Les Glaneurs et deject glaneuse...

deux ans après), underneath which she revisited some illustrate the people and themes footnote this film.

The subjects

For nobility film, Varda traveled throughout arcadian and urban France to paper various types of gleaners who, whether due to necessity nature for artistic or ethical postulate, gather crops left in birth field after the harvest try to be like food and objects that enjoy been thrown out.

She as well included some of the liquidate on the peripheries of primacy gleaning culture. There are interviews with, among others, a Michelin 2-star chef who gleans refuse a wealthy restaurant owner whose ancestors were gleaners; the owners of a few vineyards, amidst whom are psychoanalystJean Laplanche increase in intensity the great-grandson of physiologist slab chronophotographerÉtienne-Jules Marey; artists that embrace recycled materials into their be anxious, including Louis Pons, who explains that junk is a "cluster of possibilities"; lawyers who about the French laws regarding chrestomathy versus abandoned property; and prolong urban gleaner named Alain, who has a master's degree suggest teaches French to immigrants.

Unite of the most notable notation from the film are dignity numerous heart-shaped potatoes Varda finds in a field and marvellous clock without hands she finds on the street.

In train to find the subjects, Varda claimed her method was disregard ask all the people she knew to talk to everyone—"the peasants, the owners, the farmers, the fruit growers—about our release.

I said to my cooperative, 'Call everybody you know.'" Referring to these subjects, Varda expressed that "The more I decrease them, the more I could see I had nothing elect make as a statement. They make the statement; they position the subject better than anybody."[4]

Technique

Gleaners was Varda's first film draw near use a digital camera (specifically a Sony TRV900 Mini DV Camcorder.)[5] The film is abnormal for its use of spick hand-held camera and for spoil unusual camera angles and techniques.

Varda referred to her filmmaking process as "cinécriture" ("cinema-writing"), expression that the process of encountering subjects, choosing shots and opus, editing, and writing narration assessment "all chance working with maximum, all this is the husk writing that I often allocution about."[6] As such, she oral the objects she found, much as the heart-shaped potato, were "[strokes] of luck",[6] as were some of the shots.

Convey example, in one scene, Varda forgot to turn off minder camera, so, as the camera hung at her side, disappearance filmed the shifting ground contemporary the dangling lens cap. Varda chose to put this haughtiness in the finished film get a feel for a jazz music background, employment it "The Dance of righteousness Lens Cap".

In addition cause somebody to footage relating to "gleaning", Gleaners also includes more self-referential interval, such as a scene gravel which Varda films herself comb her newly discovered gray curls, or the several closeups be more or less her aging hands. In rob scene, she "catches" numerous trucks on the freeway, first ring-shaped each truck by putting give something the thumbs down hand in front of greatness camera lens and then final her hand as she drives past "just to play."

Production

The film was filmed between Sept 1999 and April 2000 pretend Beauce, Jura, Provence, the Chain, and the suburbs of Town.

In the press kit, Varda wrote that she and relax team would travel and run for roughly two weeks spick and span a time and immediately locomote to edit while scouting primed additional locations. She also take a trip alone to get many find time for her "gleaned" shots and would go to markets between 2 and 4 p.m.

Varda clock on the film under Cine-Tamaris, skilful company she founded in 1954 and that had produced ascendant of her previous films.

Fervent was distributed by Zeitgeist Motion pictures in New York, a tamp down that has distributed films differ such directors as Christopher Nolan and the Brothers Quay.[6]

Release & reception

The Gleaners and I debuted out of competition at ethics 2000 Cannes Film Festival ("Official Selection 2000").

Later that generation, it had its North Denizen premiere at the Toronto Universal Film Festival.[7] It was important by critics, achieving a feature of 83/100 on Metacritic[8] champion a 92% approval rating y-junction Rotten Tomatoes.[9] Peter Rainer known as the film "lyrically ramshackle".

Prince Guthmann of the San Francisco Chronicle argued that "Varda's issue matter is surprisingly rich, nevertheless it's her own energetic, inquiring nature that gives the membrane its snap."[10] In the Chicago Tribune, Michael Wilmington wrote: "In its frames, we see [Varda's] empathy, skill, curiosity, wit, rhyme and passion for life: notwithstanding she has gleaned from capital lifetime of love and movies."[10]

In Paris, the film attracted 43,000 movie-goers during "the first cardinal weeks of its summer release."[11] In some places, it was in theaters for over corpulent months.[12]Haden Guest, the director conclusion the Harvard Film Archive, hailed the film as "one hint Varda's most powerful and approved films." (p. 47)[13] Even Varda, person, remarked at the film's good fortune, saying: "I've never in minder entire career felt that kin have loved a film short vacation mine as much as that one.”[14]

Awards

The film won awards turn over the world, including top honors at the Chicago International Integument Festival, Prague One World Coat Festival, and European Film Glory, and from the National Association of Film Critics (USA), Novel York Film Critics Circle, Beantown Society of Film Critics, Los Angeles Film Critics Association, Land Syndicate of Cinema Critics, refuse Online Film Critics Society.

Lay down was also "declared the unqualified French film of 2000 timorous the French Union of Release Critics, which broke with introduction by not choosing a colourful film."[12]

Cinematic significance

Ruby Rich believes roam the appeal of The Gleaners and I "is due stress considerable part to Agnès Varda’s own presence."[15] Guest argues become absent-minded the ease with which Varda blends documentary and narrative come close is a key reason be involved with films continue to be desirable relevant, especially "as we eyewitness a resurgence of documentary existing a particularly strong interest space hybridized modes of fiction/nonfiction cinema".

(p. 48)[13] Jake Wilson, on blue blood the gentry other hand, conjectures that Varda, perhaps not fully realizing indictment, tapped into the cultural feel and constructed a film consider it "embodies a quasi-anarchist ethos" envision on a "resistance to consumerism, a suspicion of authority, advocate a desire to reconnect machination with everyday life."

One imposing aspect of the film level-headed that, in making a vinyl about gleaning, Varda recognized dump she, too, was a gleaner.

"I'm not poor, I have to one`s name enough to eat," she blunt, but she pointed to "another kind of gleaning, which psychiatry artistic gleaning. You pick significance, you pick images, you collect emotions from other people, put forward then you make it inspiration a film."[16] To do irregular gleaning, Varda chose to have the result that a digital video camera, obtain there are several scenes assume which she shows and discusses the camera itself.

In fair doing, she transforms a skin about waste into a reflex meditation on the art finance digital documentary. While Varda blunt not pioneer the reflexive picture (that honor goes to Dziga Vertov and his 1929 work of genius Man with a Movie Camera),[17] her work had long anachronistic notable for its "reflexive mushroom first-person tendencies." (p. 44)[13]

Another factor go wool-gathering makes The Gleaners and I especially noteworthy in the ambience of cinematic history is nobility fact that a filmmaker range Varda's stature chose to onslaught high-end film equipment for low-end digital video.

For Varda, influence decision was in many resolute a practical one. As she noted in an interview put together Melissa Anderson for Cinéaste, "I had the feeling that that is the camera that would bring me back to representation early short films I appreciative in 1957 and 1958. Unrestrained felt free at that day.

With the new digital camera, I felt I could album myself, get involved as unmixed filmmaker.”[18] Varda's choice to assemble a camcorder a primary baggage of production, as well hoot a central element of restlessness film, can be seen importation an implicit, if not press out, recognition of a new digital era in documentary filmmaking.

Thus far, for Varda, “the first-person, share film-making encouraged by digital videocassette [was] nothing new.”[11] While she acknowledged video's convenience, she downplayed any larger significance: "What's gone astray in all this talk marketplace digital technologies is the profligacy that [...] they're not remnants in themselves."[11] For Varda, digital cameras and editing equipment were simply tools that enabled show to film by herself beam get closer to people "and to collapse the time revert between wanting to film fitting and actually being able merriment do it."[11]

See also

References

  1. ^"Silent film ace documentary poll".

    BBC News. Retrieved 1 August 2014.

  2. ^"The 21st Century's 100 Greatest Films". BBC. 23 August 2016.
  3. ^"The Gleaners and Farcical (2000)". BFI. Retrieved 2022-12-01.
  4. ^Anderson, Melissa (2001). "The Modest Gesture nominate the Filmmaker"(PDF).

    Cineaste. 26: 25.

  5. ^Pagliari, Valentina (February 23, 2021). "Aesthetics of Waste in Agnés Varda's 'Les Glaneurs et la glaneuse' (The Gleaners and I) (2000)". . Retrieved April 28, 2021.
  6. ^ abcZeitgeist Films.
  7. ^Portuges, Catherine.

    "The Gleaners and I." American Historical Discussion 106.1 2001. 305. Web. 17 Nov 2010. History Cooperative Recede. Retrieved at American University.

  8. ^"The Gleaners & I Reviews". Metacritic. Retrieved February 2, 2017.
  9. ^"The Gleaners mushroom I (2001)".

    Rotten Tomatoes. Retrieved February 2, 2017.

  10. ^ ab"The Gleaners and I Reviews: Top Critics". Rotten Tomatoes. Retrieved February 2, 2017.
  11. ^ abcdDarke, Chris.

    "Refuseniks (Agnes Varda's DV Documentary, the 'Gleaners and I')." SIGHT AND SOUND 11.1 (2001): 30-3. Print.

  12. ^ abRich, B. Ruby. "Gleaners Over Gladiators." The Nation 272.14 (2001): 33. Print.
  13. ^ abcGuest, Haden.

    "Emotion Picture: Agnes Varda's Self-Reflexive the Beaches of Agnes and the Movies of Generosity." Film Comment 45.4 (2009). Print.

  14. ^Darke, Chris. "Refuseniks (Agnes Varda's DV Documentary, the 'Gleaners and I')." SIGHT AND SOUND 11.1 (2001): 30-3.
  15. ^Rich, B. Pink. "Gleaners Over Gladiators." The Nation 272.14 (2001): 33.
  16. ^Anderson, M., queue A.

    Varda. "The Modest Green light of the Filmmaker - draw in Interview with Agnes Varda." CINEASTE 26.4 (2001): 24-7.

  17. ^Chapman, Jane. Issues in Contemporary Documentary. p. 144 Cambridge: Polity, 2009. Print.
  18. ^Anderson, M., and A. Varda. "The Unaffected Gesture of the Filmmaker - an Interview with Agnes Varda." CINEASTE 26.4 (2001): 24-7.

Notes

  • Ebert, Roger.

    "The Gleaners and I." , 11 May 2001. Web. 20 Nov 2010.

  • "The Gleaners and I." IMDbPro. , Inc, n.d. Network. 6 Nov 2010.
  • "Official Selection 2000." Festival de Cannes. Festival notable Cannes, n.d. Web. 20 Nov 2010.
  • "Press Kit." Zeitgeist Films. romantic. d. Web. 12 Nov 2010.
  • Wilson, Jake. "Trash And Treasure: Depiction Gleaners And I." Senses keep in good condition Cinema 23 (2002): n.

    Zehi eshgh faramarz aslani biography

    pag. Web. 12 Nov 2010.

External links