French screenwriter and director Agnes Varda is regarded by many as the greatest female filmmaker of all time.
For decades, film histories construed that the French New Wave, which leapt to prominence during the late 1950s and early ’60s, was made up of a handful of young men who’d been writing for the film magazinebefore assuming their destined places behind the camera.
That narrow view has more recently been amended with the inclusion of other filmmakers who got their start around the same time, foremost among them Alain Resnais, Louis Malle, Chris Marker and Jacques Demy – along with the Brussels-born Agnès Varda, the subject of Carrie Rickey’s thoughtful biography,boys”, it was Varda, in fact, who set the ball rolling in 1955 with her first feature,-to-be were still taking tentative steps towards their futures in the form of low-budget shorts.
, which she shot at the age of 89 with Parisian street artist JR and under the watchful eye of her daughter Rosalie, whose father was actor and theatre director Antoine Bourseiller.Cléo from 5 to 7; and the fiercely uncompromising.
She also served as a role model for female filmmakers around the world, including Ava DuVernay, Agnieszka Holland and Isabel Coixet, and won a reputation for her regular masterclasses. It was there, as detailed by Rickey, that she introduced others to the collaborative instincts that were central to her creativity and to the winning insights that underpinned her reputation in later life as “a subversive grandma”.
There was the Sorbonne philosophy professor, Gaston Bachelard, who “defined for her what artistic form was”, and the theatre director Jean Vilar, “who showed her what an artist was – not an individual isolated in an atelier but one who communicated meaning and connected to a broad community that needed to be cultivated”.
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