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|Deep Focus : Feminist Experimental Film/Video (25)||Korean Cinema Retrospective : Femme Fatale of a Thousand Faces, Do Kum-bong (4)|
|Asian Cinema: Filipina Cinema Panorama (9)||Focus on Léa Pool (6)|
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Agnès Varda has followed the people from her previous documentary, The Gleaners and I, for an additional two years. Is the young man who picked up discarded vegetables and bread still there? How are the alcoholic couples managing with their escape from that weary life? Where is the young man who was lecturing on the philosophy of “gleaning on the streets?” How about heart shaped potato that Varda picked up from the reject file?
When The Gleaners and I was screened, people sent many letters and gifts to the director, and the people’s stories allowed the director meet more ‘gleaners.’ The psychologist’s job is to gather things thrown out by memory, analyze them, and find the origin of the psychological conflict. This film tells us that it is an artists’ job to gather that which is cast off by consumer society (with its uniform standard) and give them meaning. This master director hasn’t lost the sharp intelligence and warm regard for the theme, while discerning art, philosophy and the ironies of contemporary society. Don’t miss the essence of the film wherein the director recognizes this film as the work of the unconscious: her own. (Nam In-young)
Agnès VARDAAgnès VARDA
Born in Ixelles, Brussels on May 30, 1928 and died on March 29, 2019.
VARDA was an extraordinary artist who pioneered modern cinema through installation arts, photography, live action films, and documentaries. As the mother of the Nouvelle Vague, she is also known as a pioneer of female films not only in France but throughout the world. As an expressive feminist, VARDA is famous for her critical essays on documentary-like reality and her interests on everyday life, photography, and arts.