", Guest, Haden. Retrieved at American University.

American Historical Review 106.1 2001. 17 Nov 2010. (2000). She says the entire process took place between September 1999 and April 2000. Du Réel à la poésie et de la poésie à une certaine forme de sur-réalité, ce monde visible enfin traversé et pénétré par la force et la vitalité de cet autre univers dissimulé derrière et au delà, … Jeux concours | IMDbPro. Web. Les Glaneurs et la glaneuse streaming HD en ligne gratuitement Syntaxe pour rechercher des films (des séries) que vous souhaitez regarder dans les moteur de recherche (comme Google, Bing…): " … The film is notable for its use of a hand-held camera and for its unusual camera angles and techniques. Agnès Varda a tourné une dizaine de jours séparés et très souvent 2 à 3 heures, spécialement pour les fins de marchés, entre 14h et 16h. Les meilleurs films Documentaire, Varda also spends time with Louis Pons, who explains how junk is a "cluster of possibilities. Pour ses prises de vues, Agnès Varda a utilisé une Mini DV. Certificate: Not Rated Senses of Cinema 23 (2002): n. pag. "[9], The Gleaners and I went on to earn awards around the world including top honors at the Chicago International Film Festival, Boston Society of Film Critics Awards, the European Film Awards, the French Syndicate of Cinema Critics, the Los Angeles Film Critics Association Awards, the National Society of Film Critics Awards (USA), the New York Film Critics Circle Awards, Online Film Critics Society Awards and the Prague One World Film Festival ("The Gleaners & I"). "[3] The result of these subjects, Varda stated that "The more l met them, the more I could see I had nothing to make as a statement. [10] In Paris it attracted 43,000 movie-goers during “the first nine weeks of its summer release.”[11] Haden Guest, the director of the Harvard Film Archive, hailed The Gleaners and I as “one of Varda's most powerful and popular films” (47). But we also see a life that manages just fine for itself and roots itself in the other, something like the anti-ego philosophy of one of the people in the film.None of them are vexed to live as they do, that we see anyway, and it manages to remind me of the ancient Taoist injunctions to forego the anxieties for "humanity" and "responsibility", often hypocritical, and make yourself like a clump of earth that goes on without minding. For Varda, the decision was in many ways a practical one. Festival de Cannes, n.d. I felt free at that time. Agnès Varda explores her memories, mostly chronologically, with photographs, film clips, interviews, reenactments, and droll, playful contemporary scenes of her narrating her story. On est loin des glaneuses d'autrefois qui ramassaient les épis de blé après la moisson. Web. "The Modest Gesture of the Filmmaker - an Interview with Agnes Varda. n. d. Web. rogerebert.com. Meilleurs films Documentaire en 2000. de One day he meets Emilie, a clerk in the local post office. Through flashbacks and interviews, we see the events that led to her inevitable death. Web. How much richer the landscape of film would be if more filmmakers would just go out with a cheap camcorder? Most of the abandoned objects and shots she found, including the “dancing lens cap” and the heart-shaped potato, were “[strokes] of luck—and we immediately filmed it.”[5], Varda produced The Gleaners and I under Cine-Tamaris, the company she founded in 1954 and that has produced most of her previous films. There's a French history of "gleaning" that she references via paintings of women picking up wheat in the fields, that is of course her entry into images of life she gleans with her camera, herself a gatherer, but in another way it is to situate what we see as a certain rite of life with its continuity, something that people do. The Gleaners and I (French: Les glaneurs et la glaneuse; "The gleaners and the female gleaner", a reference to the director herself) is a 2000 French documentary film by Agnès Varda that features various kinds of gleaning. It was entered into competition at the 2000 Cannes Film Festival ("Official Selection 2000"), and later went on to win awards around the world. Want to share IMDb's rating on your own site? Varda travels the French countryside as well as the city to find and film not only field gleaners, but also urban gleaners and those connected to gleaners, including a wealthy restaurant owner whose ancestors were gleaners. "[9] In the Chicago Tribune, Michael Wilmington wrote, "In its frames, we see [Varda's] empathy, skill, curiosity, wit, poetry and passion for life: everything she has gleaned from a lifetime of love and movies. Sundance 2018 Women Directors: Meet Narcissister — “Narcissister Organ Player”, Hot Docs 2017 Women Directors: Meet Karin Jurschick — “Playing God”, Sight & Sound: Greatest Documentaries of All Time, NY Times: 25 Best Movies of the 21st Century. This is Varda going out again with just a camera. Taking a seat on a theatre stage, she uses photos and film excerpts to provide an insight into her unorthodox oeuvre. François, a young carpenter, lives a happy, uncomplicated life with his wife Thérèse and their two small children. Varda films and interviews gleaners in France in all forms, from those picking fields after the harvest to those scouring the dumpsters of Paris.

Web. Keep track of everything you watch; tell your friends. Portuges, Catherine. While Varda did not pioneer the reflexive documentary (that honor goes to Dziga Vertov and his 1929 masterpiece Man with a Movie Camera),[15] her work has long been notable for its “reflexive and first-person tendencies.”[16], Another factor that makes The Gleaners and I especially noteworthy in the context of cinematic history is the fact that a filmmaker of Varda's stature chose to abandon high-end film equipment for low-end digital video. ©AlloCiné, Retrouvez tous les horaires et infos de votre cinéma sur le numéro AlloCiné : 0 892 892 892 (0,34€/minute). In tribute to her late husband, the wife of the respected French director honors his life and artistic works by highlighting his vision in clips and interviews. In 2016, the film appeared at No. The Gleaners and I was first screened out of competition at the 2000 Cannes Film Festival ("Official Selection 2000"). [8] Peter Rainer dubbed it "lyrically ramshackle".


One such person is the teacher named Alain, an urban gleaner with a master's degree who teaches French to immigrants. rogerebert.com, 11 May 2001. "Trash And Treasure: The Gleaners And I."

In a 2014 Sight & Sound poll, film critics voted The Gleaners and I the eighth best documentary film of all time. Add the first question. Le tournage s'est effectué avec une caméra digitale, en DV Cam. Director Agnes Varda and photographer/muralist J.R. journey through rural France and form an unlikely friendship. Ebert, Roger. "The Gleaners and I."

You pick ideas, you pick images, you pick emotions from other people, and then you make it into a film.”[14] To collect the objects of her gleaning, Varda chooses a digital video camera. Les plans filmés par Agnès Varda totalisent 15minutes sur les 82 du film.

An intimate, picaresque inquiry into French life as lived by the country's poor and its provident, as well as by the film's own director, Agnes Varda. Agnes Varda returns to the people she met in her 2000 documentary on gleaning and meets some new people who were inspired by her first film.

6 Nov 2010. This unknown uncle lives on a boat, is a painter, has adopted a hippie lifestyle and loves life. 12 Nov 2010. Les glaneurs et la glaneuse nous démontre au fond quelle est la démarche de Varda : à partir de ce qui existe (elle n’invente rien), elle nous amène à constater qu’il y a toujours un angle de vue plus intéressant qu’il n’y semble.

... See full summary ». Revue de presse | Even Varda, herself, remarked at the film's success, "I've never in my entire career felt that people have loved a film of mine as much as this one.”[12], Ruby Rich believes that the appeal of The Gleaners and I "is due in considerable part to Agnès Varda’s own presence. With the new digital camera, I felt I could film myself, get involved as a filmmaker.”[17] Varda's choice to make a camcorder a primary tool of production as well as a central element of her film, can be seen as an implicit (if not explicit) recognition of a new digital era in documentary filmmaking. Varda films and interviews gleaners in France in all forms, from those picking fields after the harvest to those scouring the dumpsters of Paris. ", In order to find the subjects Varda claimed her method was to ask all the people she knew to talk to everyone - "the peasants, the owners, the farmers, the fruit growers - about our film. So I like that we're called to see beyond desperation here, though at a glance many of these lives will seem dismal. Si vous aimez ce film, vous pourriez aimer ... Quel est le film préféré du nouveau Président Joe Biden ? Cary Joji Fukunaga, avec We do see a few troubled individuals, because life kind of swung that way before they had a chance to hold on perhaps. 99 on This page was last edited on 4 June 2020, at 19:05. In one scene, she "catches" trucks on the freeway, forming a circle with her hand in front of the camera framing the truck in the center, then closing her hand as she drives past them. Gleaners was filmed throughout France, in Beauce, Jura, Provence, the Pyrenees and in the suburbs of Paris.

It was entered into competition at the 2000 Cannes Film Festival ("Official Selection 2000"), and later went on to win awards around the world. Rich, B. Ruby. The aesthetic, political and moral point of departure for Varda are gleaners, those individuals who pick at already-reaped fields for the odd potato, the leftover turnip. The same year it had its North American premiere at the Toronto International Film Festival. "The Gleaners and I." [6] The work was acclaimed by critics, achieving a score of 83/100 on Metacritic[7] and a 92% approval rating on Rotten Tomatoes. Cleo, a singer and hypochondriac, becomes increasingly worried that she might have cancer while awaiting test results from her doctor. Un peu partout en France, Agnès a rencontré des glaneurs et glaneuses, récupereurs, ramasseurs et trouvailleurs.

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