a teenager boy, a middle-aged woman. the love between these two? what kind of ending you will give it? it is a delicate movie in the sense of emotion description. From the camera, the director makes us feel that there is a man inside that little boy, who loves the "kung fu master" video game very much. His eyes talk like a man, his hands move like a man, he acts like a man in front of that woman. It is possible to forget about the big age difference between these two. At this point, I think the ...
这是一部原籍英国的著名歌手和演员 Jane Birkin〔珍．宝金〕的「电影大头贴」。1946年生於伦敦的她，十五岁时就到巴黎寻求发展她的演艺事业。1964年开始於剧场演出，并遇到她的第一任丈夫，英国著名的电影配乐 John Barry （作品有《007续集-爱皆自俄来》、《金手指》、《似曾相识》、《与狼共舞》…等）。1965年开始从事电影表演，1966年则参与演出导演 Antonionin 的《春光乍泄》。刚开始她以性感的形像闻名，更曾以裸体写真的方式出现在男性杂志《他》（Lui），随後则以幽默喜剧，甚至深沉内敛的演技令人刮目相看。到目前为止，她已前...
过渡期的短片，祖母就是牛。
A Rave! Beautifully photographed by Patrick Blossier, every shot, every frame is a delightfully balanced composition of light, color, and framing.
What's more amazing still is how Varda can make such a depressing story so mesmerizing. It is a touching, enchanting story of a lost girl slowly sinking deeper and deeper into society's refuse pile. And even though from the first reel we know her fate, we have to see how it unfolds. I don't remember the last time I saw such a beautiful film. One for ...
1984年七月， Varda 在 Avignon 的一栋养老院里看到一个名为《活生生与人造的》（Le vivant et l'artificiel）的展览。展览场里，艺术品与动物、人工心脏、发霉的墙壁混乱地共存著。视觉上的震憾让她久久不能自己，於是她决定带领我们，重回险地。我们看到一间间住宅，或空的、或满的。随著时间流逝，却留下奇怪的痕迹。另外， Varda 也在这家养老院里遇到了即将是《无法无家》里的「女仆」 Yolande Moreau 和「老太太」 Marthe Jarnias 。
Commissioned by French television, this is a short documentary on the neo-classical statues found throughout Paris, predominantly on the walls of buildings, holding up windows, roofs etc. (the title translates as 'the so-called Caryatides'). As one might expect from Varda, the film is strongly feminist, as she draws out wider symbolic and social implications from these images of women holding up huge weights, both then and now, but it is playfully so. The film becomes much sadder when she talks ...
This is a brilliant surrealistic film.
But also a fully realistic story about a time when the brave avant-guarde artists were trying to explore the unknown landscapes of human possibilities.
The contrast between two realities: the poor village and the dadaist artists is shown very smart and brings the possibility of changing the world by the art.
Unfortunately, that progressive ideals of making the world better by revealing new areas of imagination, that ruled in the first half of XX century,...
1983年法國電視上出現了一個節目Une minute pour une image。一張存在於電視上的單幅靜態影像，在一分鐘的時間內被加諸旁白。而言說影像者包羅萬象，解讀與論述當然各不相同。簡而言之，影像是被無限多個"這是......."所解釋。
This film is now being exhibited as the middle section of a trilogy of documentaries about photography Ms. Varda has done over her career as Ciné Vardaphoto. If you get a chance to see any of the three you will be engaged into a vibrant examination of what is photography, memory, history, and the artistic process. Be prepared to think, and revel in one woman's amazing ability to constantly provoke us to examine and re-examine our human condition. Ulysse itself uses one particular photo the direc...
紧接著的《纪录说谎家》（Documenteur /1981）则是被 Varda 称为是《墙的呢喃》的阴影的影片，因为相较於前者的阳光普照和色彩艳丽，《纪录说谎家》所呈现的则是一个阴霾的洛衫矶。我们一样看到加州的街头壁画，讲的却是身体的分离，是一个身体和另一个身体的分离，也是身体和自己的分离。
The French director Agnes Varda spent a couple of different years in Los Angeles, and this particular year produced her documentary "Murs, murs" and her fiction film "Documenteur". The title means "Walls, walls", but also puns with the word "murmurs." Varda located dozens of murals around LA and filmed them. Many of these are gone today, so this is a true documentary, documenting a wonderful aspect of southern Californian visual culture. She interviews the artists, a truly multicultural and mult...
The film is about lives of shopkeepers living on the same street. They were asked the same questions-When did they move here? How did each of them meet their spouse? What is their dream? The film also shows their daily lives-opening the shop, attending to customers, doing their jobs.
The person who impresses me the most in this film is the lady of the perfume shop, whose name I'm not sure if it's Marcele or not. She is really outstanding. She talks the least in this film. She smiles the least. ...
Sidney Lumet's "the group"(from Mary McCarthy) was,in its own special way,some kind of woman's lib manifesto.Here the group is a two-person team but we see them live during a pretty long time,from 1962 to the mid-seventies.It's interesting to notice that abortion was legal in France only in 1975,thanks to minister Simone Veil.
Agnès Varda's last feature film was "les creatures" a work for highbrows."L'une chante,l'autre pas" is a return to an accessible ,more palatable style.All things woman's ...
What is it like to be a woman in 1975? This is the question Agnès Varda is trying to answer 'Réponse de Femmes', in a style quite characteristic of the politically committed cinema of the 1960's and 1970's. This short could accordingly be awfully outdated but for Varda's ability to turn a series of boring slogans into a stimulating experience, inventive and poetic as her findings are.
In what she calls a 'ciné-tract', in fact a short made for French TV, Varda has various female persons, ranging...
回到法国之後，她为电视台拍了一部纪录／剧情影片–《诺西卡》(Nausicaa /1970)，片中描述一位法国女学生与一位希腊知识份子之间的爱情故事。其中穿插了一些对希腊流亡法国之异议人士的访问，谈及他们对希腊的政治和独裁政权的看法。由於父亲的关系，Varda 认为自己向来与希腊之间存在著一份必需去了结的纠葛，因此才有这部影片的诞生。但也是因为政治上的考量，这部影片并没有在电视上播映过，仅於1970年布鲁赛尔的一个影展上，以尚未完成剪接的状况下放映过。
