Three words are important to me: inspiration, creation, and sharing… I don’t care if my films make money. I care that my films are seen and are loved. — Agnès Varda
“My mother was very funny—left wing but not politically correct. We traveled a lot together. She was so curious and she loved gossip. Qui baise qui?…
“Agnès was 89 when we started VARDA BY AGNÈS. She had lung cancer and we could only work three hours a day. This film was so difficult, going from the editing room to the hospital to the editing room…
“My mother would say, Don’t complain too much. Do it. We work hard, but it should look easy. We should not show the ‘work.’ — Rosalie Varda, Agnès’ daughter and a co-producer of VARDA BY AGNÈS, in conversation with Ava DuVernay*
Agnès Varda didn’t like or use the word “master” to refer to herself or her work—what she called her cinéma écriture—but VARDA BYAGNÈS, her final film, is undeniably a master class in cinema, and a “characteristically playful, profound, and personal summation of the director’s own brilliant career.”
Now playing at the Aero Theatre, these American Cinematheque screenings of VARDA BYAGNÈS will be introduced by a variety of guests, including Illeana Douglas, Julie Delpy, Chloe King, Lisa Blok-Linson, LynneLittman, Jim McBride, and Peter Debruge. See link below for details.
Later this month, VARDA BY AGNÈS opens at the Laemmle Glendaleand Playhouse.
Philip Kaufman has never done anything like this, but his experiment is a success in tone. He has made a movie in which reality is asked to coexist with a world of pure sensuality, and almost, for a moment, seems to agree. — Roger Ebert, 1988
Following an American Cinematheque 35mm presentation of Kaufman’s masterwork THE UNBEARABLE LIGHTNESS OFBEING—co-written by Jean-Claude Carrière—join Juliette Binoche and the writer-director for a post-screening Q & A.