Though married to the good-natured, beautiful Thérèse (Claire Drouot), young husband and father François (Jean-Claude Drouot) finds himself falling unquestioningly into an affair with an attractive postal worker. One of Agnès Varda’s most provocative films, Le bonheur examines, with a deceptively cheery palette and the spirited strains of Mozart, the ideas of fidelity and happiness in a modern, self-centered world. —The Criterion Collection
Agnès Varda has been called the “Grandmother of the New Wave,” a well-meaning if curious tribute for a woman who directed her first feature film at the age of 26. Born in Brussels, Varda studied literature and psychology at the Sorbonne, and art history at the École du Louvre. She’d originally wanted to be a museum curator, but a night-school course in photography changed her mind. Rapidly establishing herself as a top-rank still photographer, Varda became the official cameraperson for the Theatre Festival of Avignon and the Theatre National Populaire, and then pursued a career as a photojournalist.
Encouraged by filmmaker Alain Resnais, Varda made her movie directorial bow in 1955 with La Pointe Courte. She based the film on a William Faulkner short story, to which she was attracted because of its parallel plotlines (a recurring device in her later films). That same year, she accompanied another future New Wave director, Chris Marker, to China as visual advisor for his Dimanche… read more
I've been thinking about this one for days since I watched it. The more I mull it over, the more I'm in awe of how smart Varda is. The messages weaved throughout the frames of this film were placed so thoughtfully and so cleverly, which is something to be admired as satire is sometimes difficult to execute without being either hokey or overly obscure. Absolutely chilling film.
The Auteurs—MUBI's center for film curation—is collaborating with Agnès Varda to show the filmmaker's shorts and features online, many of which
To celebrate the Le cinema d’Agnès Varda, the virtual retrospective currently running on The Auteurs, I thought I'd take a look at Varda’s
A real revelation. I suppose it can be seen as a cheery update of Obsessione and The Postman rings twice, in the sense that it deals with the old story of infidelity, but in this case there is no hint… read review
Disregarding the coy and poetic indictment of selfish pursuits of happiness and looking at the film from a purely audiovisual standpoint, this to me is the ideal summer film.
While I enjoyed… read review