When she meets new people, her first impulse is to see what she can get from them. Her camera remains fairly objective, favoring long shots that observe Mona, neither romanticizing her nor criticizing her.
Existing somewhere between realism and a self-conscious formalism, Vagabond is extremely cathartic. See William Gass for more on this. And the early image of Mona emerging from the sea begs for ironic comparison to Botticelli.
See for instance Beaches, or the end of this clip from The Gleaners and I The work as a whole rejects moralizing, and simple summary. She has no tolerance for the falsities by which society regularly operates.
And as this perceptive analysis points out: Another difference between the two films is that while Varda shows us the circumstances that led Mona to her death, she refuses to show us that actual death.
And her relatives visit only to patronize her, all the while waiting for her to die. Again and again, she either walks into the frame of an already-in-motion tracking shot, or falls behind, or walks out of frame as the camera keeps moving.
Mona is a very self-absorbed character. Later in the film, having grown too impatient, they fire the servant, send the old woman to a nursing home, and take over the house.
At the same time, we quickly realize that Mona is perceived too unfairly by those around her. Mona is also much dirtier than Wendy. Kane is extremely stylized and episodic, but it also achieved significant breakthroughs in makeup and deep focus, two tools of verisimilitude.
Mona lived alone, and she could only ever die alone. Be sure to check out this wonderfully terrible trailer for the film: Also like Welles, Varda makes deeply earnest films that move us, but that also reserve space for criticism—as well as entertainment, even frivolity.
Gleaners is an extended meditation on how the poor are depicted in painting. Despite being filthy and abrasive, Mona is at times very kind and gentle. Curiously, her clothes have been soaked through with wine. In certain ways, Vagabond is a realist film.
Nor does Varda romanticize or criticize the other characters; she holds, I think, a mixture of criticism and sympathy toward everyone involved herself included. Is Kane a realist film?
She can ring her bell, but her servant answers only out of duty, exasperated.
The people she meets have oversimple and usually negative impressions of her. We learn that her name was Mona, and that she was a vagabond. The investigation leads us full circle, and by the end we know more than any single character does, but we might still wonder if anything has really been revealed.
Varda has no interest in psychologizing Mona, or in explaining why she lives her life the way she does. She addresses us directly in voiceover: Unlike Mona, this woman has an elaborate house and great wealth.
Which is great art. She left her mark on them… I know little about her myself, but it seems to me that she came from the sea.Vagabond (French: Sans toit ni loi, "without roof nor law") is a French drama film directed by Agnès Varda, featuring Sandrine Bonnaire.
It describes the story of a young woman, a vagabond, who wanders through French wine country one winter. Agnès Varda was born on May 30, in Brussels, Belgium as Arlette Varda.
She is a director and writer, known for Vagabond (), Le Bonheur () and Les plages d'Agnès (). She was previously married to Jacques Demy. Born: May 30, Le Bonheur ("Happiness") is a French drama film directed by Agnès Varda.
  The film is associated with the French New Wave and won two awards at the 15th Berlin International Film Festival, including the Jury Grand Prix.
. May 16, · FROM the start of Agnes Varda's ''Vagabond'' - when her painterly director's eye moves slowly through frozen vineyards to discover the body of a young woman - to the end, when she has circled back. Sandrine Bonnaire won the Best Actress César for her portrayal of the defiant young drifter Mona, found frozen to death in a ditch at the beginning of Vagabond.
Agnès Varda pieces together Mona’s story through flashbacks told by those who encountered her (played by a largely nonprofessional cast), producing a splintered portrait of an.
Some Thoughts on Agnès Varda’s “Vagabond” It’s as though she is on the periphery of her own movie. Cléo: Mona: Rive Gauche, Sandrine Bonnaire, Sans toit ni loi, The Beaches of Agnes, The Gleaners and I, Vagabond.
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