Nana’s dance from “Vivre Sa Vie” (1962)

Vivre Sa Vie (“My Life to Live”) is a 1962 French New Wave drama film directed by Jean-Luc Godard.

Nana (Anna Karina), a beautiful Parisian in her early twenties, leaves her husband and infant son hoping to become an actress. Without money, beyond what she earns as a shopgirl, and unable to enter acting, she elects to earn better money as a prostitute. Soon she has a pimp, Raoul, who after an unspecified period agrees to sell Nana to another pimp. During the exchange the pimps argue and Nana is killed in a gun battle. Nana’s short life on film is told in 12 brief episodes each preceded by a written intertitle.
– Wikipedia

French new wave star Anna Karina dies aged 79 

Karina was best known for the string of films she made with Jean-Luc Godard, including A Woman Is a Woman and Pierrot le Fou

Danish-French actor Anna Karina, star of Bande à Part and Pierrot le Fou and collaborator with New Wave director Jean-Luc Godard, has died of cancer at the age of 79, her agent said.

Karina, who epitomised 1960s chic with her elfin features and big kohl-rimmed blue eyes, starred in seven films made by her ex-husband Godard, including Alphaville.

“Anna died yesterday in a Paris hospital of the effects of cancer,” her agent Laurent Balandras told AFP, adding that she passed away in the company of her fourth husband, American director Dennis Berry.

“Today, French cinema has been orphaned. It has lost one of its legends,” culture minister Franck Riester tweeted.

Karina was still a teenager when she hitchhiked to Paris from her native Denmark to try to become an actress. She developed a successful modelling career before being spotted by Godard while walking along the Champs-Elysees. Godard offered her a nude scene in Breathless, his first film, but she refused.

They were a couple when, at barely 21, she won best actress at the Berlin film festival for his 1961 film A Woman is a Woman. They divorced in 1965. “We loved each other a lot,” Karina told AFP in an interview in Paris in March 2018. “But it was complicated to live with him,” she added.

“He was someone who could say to you, ‘I am going to get some cigarettes’ and come back three weeks later.”

She later went behind the camera to make Vivre Ensemble, a romance between a history teacher and a free spirited young woman that ends in drugs and domestic violence.

Karina also had some success as a singer, recording Sous Le Soleil Exactement with Serge Gainsbourg.

Source: French new wave star Anna Karina dies aged 79 | Film | The Guardian

Behind Jean-Luc Godard’s Shades: Agnès Varda’s Ways Of Seeing

Elsa Court unpicks the cinematic relationship between Agnès Varda and Jean-Luc Godard. With her new film, Faces, Places, in UK cinemas soon, and a retrospective currently on screen at the BFI Southbank, a reassessment of the often marginalised Varda feels more vital than ever

L’art du cinema consiste à faire faire de jolies choses à de jolies femmes” – the art of cinema consists in having pretty women do pretty things. This quote, from Francois Truffaut, was how I chose to open my lecture – the last of four taught on the directors of the French New Wave at the Department of Continuing Education at Oxford University last autumn – on Agnès Varda. I had decided to save Varda for last, and Truffaut’s quote, frequently remembered in the wealth of critical writing on the French New Wave, seemed to me a good entrée en matière to discussing the postfeminist narrative of Varda’s Cléo de 5 à 7 (1962).

So far into the course, I had approached the movement according to its standard historical – and therefore predominantly male – perspective, placing the films of Truffaut, Jean-Luc Godard, and Alain Resnais within their cultural context in postwar France, stressing the way in which the young, anti-orthodox filmmakers simultaneously called for a reassessment of cinema as art and for a relaxing of the rules of filmmaking. By the end of the day, I had yet to discuss the New Wave’s inclusion of women and its representations of gender relations, which jarred with the movement’s professed radical attitudes towards both film and the changing landscape of France’s society and culture. My lecture on Varda deliberately approached her work through the perspective of her uniquely playful, even generous redressing of the codes of female representation within the movement and in French cinema in the broader sense. Continue reading “Behind Jean-Luc Godard’s Shades: Agnès Varda’s Ways Of Seeing”

Cannes 2018

Cannes
Official Cannes 2018 Poster

The Cannes Film Festival has unveiled its official poster for this year’s 71st edition, featuring an image from Jean-Luc Godard’s 1965 film “Pierrot le Fou.”

The poster, designed by 27-year-old graphic designer Flore Maquin, is inspired by the work of French stills photographer Georges Pierre and features “Pierrot le Fou” stars Jean-Paul Belmondo and Anna Karina.

The new poster shows Belmondo and Karina leaning out of their cars to share a kiss. The two play lovers on the run who settle for a time on the French Riviera, which is also where the Cannes Film Festival takes place.

Review “Visages Villages”

As they make their way, sometimes merry, sometimes melancholy, a double-portrait of the artists forms. It’s very moving.

ROGEREBERT.COM

Agnes Varda is almost 90 years old and she is still making films. That alone should be cause for dancing in the streets. But wait, there’s more: Agnes Varda is almost 90 years old and she is still making fantastic films. Searching, compassionate, provocative, funny, sad ones. This is one of them. You should see it, and then go dancing in the streets.

Varda has been making films since 1955, and throughout her career, which saw her as one of the key figures in the French New Wave, she’s been a generous and ingenious collaborator. For this movie, which is part character drama (with real-life characters), part road documentary, and part essay-film, Varda co-signs with the French artist who calls himself JR. A bit over one-third Varda’s age, he always sports a hat and dark glasses. His work is in photography and public art. He travels through Europe in a van that’s a photo booth, creating large-format portraits of people he meets. He goes even larger with some of his other works, creating giant pictures that he then affixes to the sides of buildings, or train cars, or ships. After which he documents that work, and lets nature take its course—the images are generally washed away by time. In this film, one is very dramatically swept off by the tide.

JR’s is a humanist artistic mission; he gets ordinary people to partake in his work, which inevitably delights them. This movie, which has the French title “Visages Villages,” opens with scenes set in various places where, Varda and JR explain in voiceover, they did not meet. (Included is a funny scene at a disco, where a spry Varda—her unusual bowl haircut totally white on top, with a thick ring of vermillion at bottom, a kind of tonsure—dances up a storm at the other end of the floor from JR.) Once each describes the others’ work, and their mutual admiration, they’re off in JR’s van.

Varda’s ideas for photo work bring her to places she visited long ago, and her own earlier films. They visit the village of Cherance, in Normandy, where Nathalie Sarraute, the great writer to whom Varda dedicated her amazing 1985 film, “Vagabond,” lived. They find the well-hidden graves of Henri Cartier-Bresson and his wife, and pay homage. But while they honor the dead, they concentrate on celebrating the living. At one village, they see a row of one-time miners’ houses, waiting to be torn down. The hold up is one woman, the surviving daughter of a miner, who’s staying put. Her portrait, along with vintage images of the miners from the town, is pasted to the houses. The port at Le Havre, a man’s world clotted with ship’s containers, sees its largely unheralded women celebrated with a triptych pasted to a block of stacked containers. An enlarged portrait of Guy Bourdain, a one time collaborator of Varda’s who went on to become a celebrated photographer, is put on a concrete bunker that Germans abandoned in World War II and ended up off a cliff and embedded in a beach. A visit to a goat farm inspires an artwork calling for goats to be permitted to own their own horns.

As they make their way, sometimes merry, sometimes melancholy, a double-portrait of the artists forms. It’s very moving. Varda’s sight, which served her so well so many years, is getting dimmer. At the same time she wonders why JR always wears dark glasses. This habit, she tells him, reminds her of an old friend, Jean-Luc Godard. The resemblance sets up the film’s finale, which is puzzling, heartbreaking, but ultimately celebratory. And wobbles the line between documentary and fiction so strongly that the vibrations will linger in your heart for days afterwards.

 

Source: ROGEREBERT.COM Faces Places Movie Review & Film Summary (2017) | Roger Ebert