Agnes Varda

6.5 La Pointe Courte (1955)
7.0 Cléo de 5 à 7/ Cleo from 5 to 7 (1962)
6.7 Le Bonheur/ Happiness (1965)
6.2 Les Creatures (1966)
7.0 L'une Chante, l'autre Pas/ One Sings the Other Doesn't (1977)
6.0 Documenteur (1981)
7.2 Sans Toit ni Loi/ Vagabond (1985)
6.0 Le Petit Amour/ Kung Fu Master (1987)

Links:

The photographer Agn�s Varda (France, 1928) moved into cinema to shoot La Pointe Courte (1955) live (two reunited lovers in a Mediterranean fishing port, a precursor of the nouvelle vague), as well as several short documentary films.

Cléo de 5 à 7 / Cleo from 5 to 7 (1962), filmed on the streets of Paris, makes the running time coincide with narrative time, recounting two hours in the life of the protagonist. Jean-Luc Godard and Anna Karina appear in a film within the film.

At 5pm a tarot reader asks a young woman to pick nine cards and then proceeds to read her future. The fortune teller sees only tragedy in her future: no marriage, an illness and death. When the young woman asks her to read her hand, the fortune teller refuses: she has seen cancer. Cleo already thought she was sick. Now she is absolutely certain, and so she says to her friend Angele whom she encounters in a cafe. Cleo is to go to the hospital at 7pm to pick up the results of some analyses that will show if she is indeed terminally sick. While her friends is telling a story, Cleo listens to the conversation of two lovers who are breaking up.
They go to a boutique where Cleo can't resist to try some clothes. They take a taxi to her friend's place. The radio is playing a song recorded by Cleo herself, who obviously must be a professional singer. At her friend's place they are joined by Cleo's lover, who tries in vain to console her. She is gorgeous and aware that people spoil her but don't love her. Her two funny young composers show up and present their new song to her, but any sad word makes her cry.
She dresses in black and walks outside alone. She feels that everybody is staring at her.
She walks into the studio of sculpture students. The model who is posing naked is a friend whom she has not seen in a while. The model invite her for a ride in her boyfriend's car: she just learned to drive. Cleo tells her of her illness. The model drives to her boyfriend's cinema, where he is projecting a silent slapstick. Then the girls stumble into the scene of a murder. They take a taxi and part. Cleo walks alone in a park. A stranger approaches her, trying to strike a conversation. He's a soldier on his last day of leave. They become friends and he takes the tram with her to the hospital. It is 7pm but the doctor has already left. Cleo is shocked that he would leave without telling her that she has cancer. They find him outside while he is driving away: Cleo has nothing serious. What is more important is that Cleo has finally found someone who cares for her: the soldier.
Ironically, it is the soldier who might die. He is headed for a war zone.

The crisis of the married couple became Varda�s favorite theme: Le Bonheur / Happiness (1965), her most visually captivating film, and Les Creatures / The Creatures (1966), a science-fiction work with Michel Piccoli and Catherine Deneuve, both centered on a denunciation of male egoism, are mannered photographic contraptions.

She followed her husband Jacques Demy to Los Angeles and documented the sociopolitical revolution of the era in three brief non-fiction films: Uncle Yanco (1967), Black Panthers (1968) and Lions Love and Lies (1969).

The documentary Daguerreotypes (1975) visits the shops along the street where Varda lives, bringing to light the community of shopkeepers.

L'une Chante, l'autre Pas/ One Sings the Other Doesn't (1977) is a feminist film and almost a musical.

Documenteur (1981) was a drama about a single mother in Los Angeles.

Sans Toit ni Loi / Vagabond (1985) speculates on the death of a young female drifter.

Le Petit Amour/ Kung Fu Master (1987) was a film with Jane Birkin two years after she had made a documentary on her, Jane B Par Agnes V (1985). The story is about a scandalous relationship between an underage boy and a middle-aged woman, which initially consists in a simple love story but then turns ugly when the woman is incarcerated.

Jacquot de Nantes (1991) is de facto a biography of her husband Demy.

Les Cent et une Nuits de Simon Cinema/ One Hundred and One Nights (1995)

Les Glaneurs et la Glaneuse/ The Gleaners and I (2000) is a documentary (made with a digital handheld camera) inspired by Jean-Francois Millet's painting "The Gleaners and I" (1857).

Les Plages de Agne/ The Beaches of Agnes (2008) is an autobiographical documentary.

Her last film was the documentary Visages Villages/ Faces Places (2017).

Varda died in 2019.

What is unique about this cinema database