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Agnès VARDA L’Avventurosa Agnès VARDA L’avventurosa AGNES VARDA 3 BIOFILMOGRAPHIE . 5 BIBLIOGRAFIA 6 SITI WEB 6 LA POINTE COURTE - FRANCIA - 1954 7 CLEO DE 5 A 7 - FRANCIA - 1961 10 LE BONHEUR - FRANCIA - 1964 13 L’UNE CHANTE L’AUTRE PAS - FRANCIA - 1976 15 SANS TOIT NI LOI – FRANCIA - 1985 17 JACQUOT DE NANTES - FRANCIA - 1991 19 LES GLANEURS ET LA GLANEUSE - FRANCE – 1999/2000 24 CINEVARDAPHOTO : YDESSA, LES OURS ET ETC... - 2004 30 ULYSSE - 1982 30 SALUT LES CUBAINS ! – 1963 30 pag. 2 AGNES VARDA L’Associazione “L’occhio delle donne” propone quest’anno, sempre in collaborazione con i Cineclub Ticinesi e per la prima volta con il Cinema Lux di Massagno, una rassegna dedicata alla filmografia della regista francese Agnès Varda. Dalla sua vasta opera abbiamo selezionato otto film, basandoci su un criterio cronologico e qualitativo, al fine di rappresentare in modo esaustivo la sua carriera di regista. Agnès Varda è definita la pioniera della Nouvelle Vague ed è considerata una protagonista importante nella storia del cinema. Approda al cinema dietro la spinta di una pulsione creativa e grazie alle sue conoscenze. La sua formazione come fotografa influenza il suo stile cinematografico. Come lei stessa afferma : “ciò che rappresenta la fotografia è essenziale nella mia vita: mi riferisco a quel che avviene in una fotografia, al fatto che con un’immagine piatta, a due dimensioni, si è afferrato qualcosa che era fermo, oppure una persona. Il cinema mi affascina non perché, come dicono alcuni, è l’esatto contrario della fotografia. E’ qualcosa di altrettanto interessante, che ha a che fare con l’immobilità della fotografia. L’immobilità, il piano fisso e il silenzio sono tutte componenti del cinema e tutto questo è molto coinvolgente”. 1 Il suo percorso come fotografa e cineasta la porta a sviluppare un suo concetto personale: la cinécriture, intendendo con questo lo scrivere direttamente per il cinema, avendo già in mente i movimenti della cinepresa e la posa degli attori. Il gioco consiste nell’inventare una forma che è già il film: non un libro adattato né un teatro filmato. E’ necessario cercare di trovare una scrittura diretta, dal carattere specificamente cinematografico. Abbiamo scelto Agnès Varda anche per il suo modo di essere donna, che traspare chiaramente dal suo originale percorso artistico. “E’ difficile trovare la propria identità femminile nella società, nella vita privata, nei rapporti con il proprio corpo. Questa ricerca di identità ha un senso per una cineasta: significa anche girare in quanto donna”.2 Nata a Bruxelles il 30 maggio 1928 da padre greco e madre francese, Agnès Varda è cresciuta a Sète (Hérault). Prima di cimentarsi come regista, è stata fotografa al Théâtre National Populaire (TNP), all’epoca di Jean Vilar. Nel 1954 gira La Pointe Courte. Come lei stessa ricorda non possedeva una “carte professionelle”. Per ogni film necessitava di una deroga del Centre national de la cinématographie (CNC) Questa “carte professionelle” l’ha ottenuta solo dieci anni più tardi, dopo aver girato tre lungometraggi e tre cortometraggi. E’ la regista numero 2197. Se ci fossero stati dei numeri separati per gli uomini e per le donne, avrebbe certamente avuto un numero della prima decina. Fu pioniera senza averlo voluto, semplicemente seguendo la scia dei suoi desideri. Tra il 1962 e il 1977 realizza diversi cortometraggi e cinque lungometraggi: tutti ritraggono dei momenti di vita e hanno in comune l’attenzione alle persone, come pure una certa disinvoltura nella narrazione. E` con il film Cléo de 5 à 7 che Agnès Varda otterrà il suo primo successo e il Premio Méliès. Agnès Varda filma senza ambagi, in modo diretto, perché non c’è nulla di più fecondo che partire dalla realtà, anche la più elementare, per tessere un’opera con i fili del proprio immaginario. La realtà è inesauribile e, fortunatamente, nessuno sa cosa sia veramente. Agnès Varda non pretende altro, se non qualcosa che manifesti una soggettività ludica. Qualsiasi occasione può diventare pretesto per il soggetto di un film. Spesso la realtà filmata è già dell’ordine della rappresentazione, dell’immaginario, sul quale l’artista innesta una regia, un discorso, felice mescolanza di sapere, di fantasia verbale e di considerazioni personali. Invitata a Cuba per un festival di cinema, ad esempio, Agnès Varda riporta dal suo viaggio 4000 fotografie. Ne seleziona 1500, che monterà per sei mesi, subito dopo il suo rientro a Parigi: sarà Salut les cubains! (1963); oppure, preparando un’esposizione fotografica, si rende conto di aver conservato per anni, sulla porta interna di un armadio, una foto che ritraeva, su una spiaggia, un uomo ed un bambino con, in primo piano, una capra morta. Ulysse (1982) é nato da questa voglia pag. 3 imprecisata di esplorare le fluttuazioni della memoria a partire da questa fotografia scattata il 9 maggio 1954. Quando inizia le riprese del film, lei non sa dove la condurranno. Ora, partendo da questa semplice fotografia, c’è tutto un mondo che riemerge, non solo i ricordi personali della regista o quelli dei modelli ritrovati trent’anni dopo, ma un’epoca, il TNP, il quartiere della Rue Daguerre, gli emigrati spagnoli… Nel 1985 ritrova il successo grazie a Sans toit ni loi, che vince il Leone d’Oro al Festival di Venezia. I migliori momenti del cinema di Varda non hanno nulla a che vedere con un cinema programmato. Le bellezze, i sensi suggeriti, i saperi distillati nascono nel corso del film, durante la sua realizzazione. Passano innanzitutto attraverso la capacità di registrazione di una vecchia macchina: la cinepresa. Quella di Varda ama lasciarsi sorprendere da ciò che la regista ha piazzato davanti al suo obiettivo. L’incontro - ogni piano di cinema dovrebbe portarne la traccia - si svolge davanti ai nostri occhi. Può essere provocato, sperato, talvolta mancato, ma mai scritto in precedenza. Varda parla di cinécriture, intendendo l’insieme delle scelte e delle intuizioni - prima e durante le riprese sino alla fine del montaggio - che definiscono la scrittura del film, il suo stile. Jaquot de Nantes (1990) è un omaggio pudico e lacerante a Jacques Demy, suo compagno dal 1962 e scomparso durante le riprese di questo film. Nel 2000 realizza Les glaneurs et la glaneuse opera che coniuga fiction e documentario. Sensibile alle realtà sociali e politiche, ma anche ai dettagli della quotidianità, cerca di raccontare la densità della vita, con la sua tristezza, il suo dolore, le sue gioie e le sue contraddizioni. Ottima sintesi della continuità artistica della regista, dall’esordio come fotografa alla successiva carriera di cineasta. Cinevardaphoto (2004) indaga sui nessi esistenti tra le due attività. Il ruolo dell’immagine, l’apertura di significato che le è propria l’hanno sempre fatta riflettere: “La cosa più affascinante, con le immagini, è che la gente non dice mai quello che ti aspetti, ognuno ha la propria visione. Poi il contributo dell’osservatore scorre via, come un’onda, e resta solo la foto, con il suo mistero. E’ proprio questo rapporto con l’immagine che amo nella fotografia; un rapporto che il cinema riesce a registrare. Una trappola per pensieri e sentimenti”.3 1 Agnès Varda, in: Sara Cortellazzo e Michele Marangi, Agnès Varda, Edizioni di Torino, Torino, 1990, p. 82. 2 Agnès Varda, in: Sara Cortellazzo e Michele Marangi, Agnès Varda, Edizioni di Torino, Torino, 1990, p. 85. 3 Agnès Varda in: (http://2004.pardo.ch/pardo/film) pag. 4 BIOFILMOGRAPHIE . Naissance (1928) et petite enfance en Belgique. Adolescence à Sète puis à Paris. Bacs. Ecole du Louvre. Un peu de fac. Cours du soir à l’Ecole de Vaugirard. Photographe des débuts de Jean Vilar en Avignon, puis de la troupe du T.N.P., dont Gérard Philipe, au Palais des Papes puis au Palais de Chaillot. Grands reportages en Espagne, en Chine, à Cuba, etc... Exposition personnelle en 1954 dans une cour. Passage au cinéma en 1954 sans aucune formation ni assistanat .LA POINTE COURTE, film précoce d’un cinéma rajeuni, lui vaut le titre de “Grand-mère de la Nouvelle Vague”. Elle rejoint la vague quand elle déferle en France (59-67). Ensuite navigue de son côté. Courts Métrages : Ô SAISONS Ô CHÂTEAUX (1957) - L’OPÉRA-MOUFFE (1958) - DU CÔTÉ DE LA CÔTE (1958) - SALUT LES CUBAINS (1963), Colombe d’Argent au Festival de Leipzig 1964 - LES ENFANTS DU MUSEE (1964) - ELSA LA ROSE (1965) – UNCLE YANCO (1967) - BLACK PANTHERS (1968), 1er Prix au Festival d’Oberhausen 1970 - RÉPONSE DE FEMMES (1975) - PLAISIR D’AMOUR EN IRAN (1976) - ULYSSE (1982), César 1984 - UNE MINUTE POUR UNE IMAGE (1982) - LES DITES CARIATIDES (1984) - 7 P., CUIS., S. DE B. (1984) - T’AS DE BEAUX ESCALIERS, TU SAIS... (1986) - LE LION VOLATIL (2003) – YDESSA, LES OURS et ETC… (42’ - 2004 ) 1er volet de CINEVARDAPHOTO (I YDESSA ; II ULYSSE ; III SALUT LES CUBAINS – 2004) Longs Métrages : 1954 : LA POINTE COURTE Prix de l'Age d'Or Bruxelles (1955) 1961 : CLEO DE 5 A 7 Prix Méliès (1962) 1964 : LE BONHEUR Ours d’Argent au Festival de Berlin, Prix Louis Delluc, David Selznick Award (1965) 1966 : LES CREATURES 1969 : LIONS LOVE (...AND LIES) (en anglais) 1970 : NAUSICAA Disparu 1975 : DAGUERREOTYPES (documentaire) Prix du Cinéma d'Art et Essai (1975), Sélection Oscars catégorie Documentaire ( 1976 : L’UNE CHANTE L’AUTRE PAS Grand Prix Festival de Taormina (1977) 1980 : MUR MURS (documentaire) Grand Prix Festival dei Populi Florence (1981) Prix Josef von Sternberg Mannheim (1981) 1981 : DOCUMENTEUR Prix du Public au festival du Film de Femmes de Bruxelles (1982) 1985 : SANS TOIT NI LOI Lion d’Or au Festival de Venise (1985 ), Prix Méliès (1985) 1987 : JANE B. PAR AGNES V. 1987 : KUNG-FU-MASTER 1990 : JACQUOT DE NANTES Sélection française, hors compétition, Fest.
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