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Examples
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Ms. Varda's "Jacquot de Nantes" is a profoundly touching portrait of the her husband, famed French director Jacques Demy "The Umbrellas of Cherbourg", made a year after his 1990 death.
Doom and Gloom, and the Cult Steve Dollar 2011
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One not-to-be-missed New Wave rarity is Ms. Varda's "The Creatures" "Les créatures," 1966, a drama dealing with fantasy and creativity, set on a small island.
A Belle de Cinema in New York Kristin M. Jones 2011
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It is a tale of violence and sexual obsession, certainly, but atypical; it is hardly a straight suspenser, but much more modern in its perplexingly oblique depiction of fear and horror, which mixes in the kind of single-girl romantic comedy found in Varda's Cléo From 5 to 7, Godard's Clueless, Rivette's Paris Belongs To Us. Four young women work in a French store and dream of getting away somewhere, anywhere.
Claude Chabrol anatomised the French middle class with a twist of the scalpel 2010
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In the streets, dangling on thin lines, sheets billow in the wind, and Varda's camera is blown along with the breeze, caught up in its currents, quietly whistling through the town's nearly empty streets, shuffling into corners or gently drifting sideways to pan across a scene.
La Pointe-Courte Ed Howard 2009
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Varda's film, more than anything, aims to capture that sense of place, to evoke the languid rhythms of this seaside life.
La Pointe-Courte Ed Howard 2009
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It's just one small indication of Varda's ability to keep her images interesting by being open to the play of peripheral elements.
La Pointe-Courte Ed Howard 2009
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At another point, as the lovers are walking together, Varda's camera begins roaming away from them, letting them disappear at the edges of the frame, focusing instead on the chopped lumber by the side of the road.
La Pointe-Courte Ed Howard 2009
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Varda's pace is leisurely, peeking in on these ordinary little stories, her camera drifting weightlessly through each scene.
La Pointe-Courte Ed Howard 2009
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Also remarkable is the scene in which a mother grieves for her dead little boy, and Varda's camera, framing the woman in a doorway, begins pulling back, creating another frame within a frame as it passes through yet another door.
La Pointe-Courte Ed Howard 2009
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Varda's central romantic couple is never the sole focus of the narrative.
La Pointe-Courte Ed Howard 2009
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