Born in Belgium, moved to Sète and, afterwards, to Paris, dwelling for some years in Los Angeles, frequently travelling for work, or spending long periods with her husband Jacques Demy in the beloved island of Noirmoutier, Agnès Varda experienced continuous movements throughout her life. At the same time, she built long-lasting, profound creative and personal relationships with almost each of those places, frequently portrayed in her photographs, films, and other artworks, as she recalled in her filmed autobiography Les plages d’Agnès (2008). She always moved from, and to, a constant focal point of both her professional and personal life: the all-encompassing microcosm she built in rue Daguerre, including her private house, her photographer’s studio, her filmmaker’s editing room, her producer’s office, her DVD seller’s shop, and, finally, the self-created archive of her (and her husband’s) artistic career.1

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Landscapes of Immobility in Varda’s Cinema

  • Giulia Lavarone

摘要

Born in Belgium, moved to Sète and, afterwards, to Paris, dwelling for some years in Los Angeles, frequently travelling for work, or spending long periods with her husband Jacques Demy in the beloved island of Noirmoutier, Agnès Varda experienced continuous movements throughout her life. At the same time, she built long-lasting, profound creative and personal relationships with almost each of those places, frequently portrayed in her photographs, films, and other artworks, as she recalled in her filmed autobiography Les plages d’Agnès (2008). She always moved from, and to, a constant focal point of both her professional and personal life: the all-encompassing microcosm she built in rue Daguerre, including her private house, her photographer’s studio, her filmmaker’s editing room, her producer’s office, her DVD seller’s shop, and, finally, the self-created archive of her (and her husband’s) artistic career.1