Agnès Varda

Follow the story of a couple who goes to a small French fishing village to try to solve the problems of their deteriorating marriage.

Cleo, a singer and hypochondriac, becomes increasingly worried that she might have cancer while awaiting test results from her doctor.

François, a young carpenter, lives a happy, uncomplicated life with his wife Thérèse and their two small children. One day he meets Emilie, a clerk in the local post office.

A young mute woman, living in a small village, is expecting a baby. Her husband is at the same time writing a novel and using the villagers as his characters. In the creative process, reality and imagination are constantly intertwined.

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

A girl, whose father is from Greece, studies ancient art in France. The film was made for television but never broadcast for political reasons related to its portrayal of Greeks. A work print was screened in Belgium in 1971, and the film is now available in reconstructed form.

Portraits of the people that occupy the small shops of the Rue Daguerre, Paris, where the filmmaker lived.

The lives of Pomme, an aspiring singer, and Suzanne, a struggling mother, as they search for their own identity in 1970s France.

Agnes Varda's documentary on murals in Los Angeles.

A young French woman, separated from her lover, tries to find a lodging in L.A. for herself and her son.

A young woman's body is found frozen in a ditch. Through flashbacks and interviews, we see the events that led to her inevitable death.

Mary-Jane, a lonely mother in her forties, gets absorbed in a sentimental affair with a 14-year-old boy.

"I'll look at you, but not at the camera. It could be a trap," whispers Jane Birkin shyly into Agnès Varda's ear at the start of JANE B. PAR AGNES V. The director of CLEO FROM 5 TO 7 and VAGABOND once again paints a portrait of a woman, this time in a marvelously Expressionistic way. "It's like an imaginary bio-pic," says Varda. Jane, of course, is the famed singer ("Je t'aime ... Moi non plus"), actress (BLOW UP), fashion icon (the Hermes Birkin bag) and longtime muse to Serge Gainsbourg. As Varda implies, JANE B. PAR AGNÈS V. abandons the traditional bio-pic format, favoring instead a freewheeling mix of gorgeous and unexpected fantasy sequences. In each, Jane inhabits a new character, playing a cat & mouse game with Varda as they explore the role of the Muse and the Artist, all the while showcasing the multifaceted nature of Birkin's talent. "I'd like to be filmed as if I were transparent, anonymous, like everyone else," says Birkin. But her wish to be a "famous nobody" is impossible to achieve; Birkin is simply too magnificent, too mesmerizing. Here, Varda's signature mix of aesthetic innovation and generosity of emotion results in a surreal and captivating essay on Art, Fame, Love, Children and Staircases. For its first-ever U.S. theatrical release the film has been newly-restored from the original 35mm camera negative, overseen by director Varda herself.

A boy growing up in Nantes during World War II around his father's auto shop has a love for puppet shows and cinema and develops it into his own art. Jacques Demy, the artist at the end of his life, reflects on his childhood influences.

A recital becomes part of the French culture; 25 years later the performers return to the village where it was first launched.

Monsieur Cinema, a hundred years old, lives alone in a large villa. His memories fade away, so he engages a young woman to tell him stories about all the movies ever made.

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.

Varda films and interviews gleaners in France in all forms, from those picking fields after the harvest to those scouring the dumpsters of Paris.

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.

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived.

From legendary French New Wave director Agnès Varda, a triptych of short documentary films exploring the power and vitality of the photograph. Each film separated by 20 years, from her first documentary in the early 60s, through a doc from the early 80s, to her most recent. In the breathtaking Salut les Cubains (1963) Varda sequences a series of pictures shot during a trip to Castro's Cuba, including a thrilling Chris Marker-esque moment when a singer's performance suddenly comes to life before our eyes. In Ulysse (1983) she reunites with the subjects of a mysterious photo taken long ago. And in Ydessa, the Bears and etc... (2004), Varda contemplates the meaning of teddy bears when juxtaposed with photos of living people, when she visits Canada to interview teddy bear artist Ydessa Hendeles.

Documentary about the widows on the island Noirmoutier. Agnès Varda listens to them, films them, each one of them talks about her emotions, life, etc.

Agnès Varda explores her memories, mostly chronologically, with photographs, film clips, interviews, reenactments, and droll, playful contemporary scenes of her narrating her story.