{"id":75519,"date":"2019-04-02T15:44:09","date_gmt":"2019-04-02T15:44:09","guid":{"rendered":"https:\/\/www.sleek-mag.com\/?p=75519"},"modified":"2019-04-02T16:23:33","modified_gmt":"2019-04-02T16:23:33","slug":"agnes-varda","status":"publish","type":"post","link":"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/","title":{"rendered":"Why we must remember the radical tenderness of Agn\u00e8s 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of the feminist film title Cl\u00e9o Journal, Chelsea Phillips-Carr reflects on the legacy of the late filmmaker","hero":{"video":false,"image":false,"header_color":"black","overlay_color":"","overlay_text_color":"black"},"teasers":{"video":false,"image":{"ID":75530,"id":75530,"title":"4724","filename":"4724-e1554218842264.jpg","filesize":330240,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/attachment\/4724\/","alt":"","author":"1","description":"","caption":"","name":"4724","status":"inherit","uploaded_to":75519,"date":"2019-04-02 15:26:40","modified":"2019-04-02 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15:26:40","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1500,"height":900,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","thumbnail-width":128,"thumbnail-height":77,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","medium-width":1500,"medium-height":900,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","medium_large-width":1500,"medium_large-height":900,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","large-width":1500,"large-height":900,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","1536x1536-width":1500,"1536x1536-height":900,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","2048x2048-width":1500,"2048x2048-height":900,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/4724-e1554218842264.jpg","wpvr_mobile-width":1500,"wpvr_mobile-height":900}}],"settings":{"fit_width":"10","caption":"Film 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Les Plages d\u2019Agn\u00e8s (2008). Les Films du Losange, The Cinema Guild."}},{"acf_fc_layout":"text_area","text_area":"<p><span style=\"font-weight: 400;\">When I was seventeen, I saw my first Agn\u00e8s Varda film: <\/span><i><span style=\"font-weight: 400;\">Le Bonheur<\/span><\/i><span style=\"font-weight: 400;\"> (1965). In strikingly vibrant colour, <\/span><i><span style=\"font-weight: 400;\">Le Bonheur<\/span><\/i><span style=\"font-weight: 400;\"> tells the story of a woman whose husband easily replaces her after having an affair. I was blown away. What struck me most was the intelligence and sensitivity. Depicting a complex marital relationship while never shying away from the cruelty of a man who finds women to be interchangeable, I felt equally moved and enraged. For the first time, it felt like I was watching a film that was articulating something real and pressing, and thatarticulation could have only come from a woman.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">I continued to explore Varda\u2019s filmography, from French new wave staples such as <\/span><i><span style=\"font-weight: 400;\">Cl\u00e9o from 5 to 7<\/span><\/i><span style=\"font-weight: 400;\"> (1962) and <\/span><i><span style=\"font-weight: 400;\">La Pointe Courte<\/span><\/i><span style=\"font-weight: 400;\"> (1959), to her later autobiographical documentaries, like <\/span><i><span style=\"font-weight: 400;\">Les Plages d\u2019Agn\u00e8s <\/span><\/i><span style=\"font-weight: 400;\">(2008) and <\/span><i><span style=\"font-weight: 400;\">The Gleaners and I<\/span><\/i><span style=\"font-weight: 400;\"> (2000). Again, I was enraptured by Varda\u2019s work From making the first film of the French new wave to her decades long career as a filmmaker, photographer, producer, and installation artist, Agn\u00e8s Varda was one of the most important women in cinema. Having experienced Varda\u2019s films, I was suddenly aware of a lack in my own cinephilia: women, who I could relate to, who privileged my experience, and who were outspoken politically in a way I had never seen in a film by a man at that point.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">This is not to say that Varda was perfect. As a woman of colour, I soon became aware of the lack of representation I could find in the majority of Varda\u2019s oeuvre. Her documentary <\/span><i><span style=\"font-weight: 400;\">Black Panthers<\/span><\/i><span style=\"font-weight: 400;\"> (1968) is a major exception, but can be contrasted to <\/span><i><span style=\"font-weight: 400;\">One Hundred and One Nights<\/span><\/i><span style=\"font-weight: 400;\"> (1995), a celebration of the history of cinema which devotes its focus to white European and American films, while making a number of racist jokes<\/span><span style=\"font-weight: 400;\">. Equally outdated is her feminist short, <\/span><i><span style=\"font-weight: 400;\">Women Reply<\/span><\/i><span style=\"font-weight: 400;\"> (1975), which, though powerful in the explicitly political assertions it makes, presents an all-white group of women to represent their whole gender, while repeatedly positioning a woman\u2019s identity as tied to her biology. The feminism of Varda\u2019s oeuvre could never be described as all-encompassing.<\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":75536,"id":75536,"title":"Cle\u0301o from 5 to 7 1962 2","filename":"Cle\u0301o-from-5-to-7-1962-2.png","filesize":560289,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","link":"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/cleo-from-5-to-7-1962-2\/","alt":"","author":"1","description":"","caption":"","name":"cleo-from-5-to-7-1962-2","status":"inherit","uploaded_to":75519,"date":"2019-04-02 16:20:43","modified":"2019-04-02 16:20:43","menu_order":0,"mime_type":"image\/png","type":"image","subtype":"png","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":1140,"height":733,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","thumbnail-width":128,"thumbnail-height":82,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","medium-width":1140,"medium-height":733,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","medium_large-width":1140,"medium_large-height":733,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","large-width":1140,"large-height":733,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","1536x1536-width":1140,"1536x1536-height":733,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","2048x2048-width":1140,"2048x2048-height":733,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","trp-custom-language-flag-width":18,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/Cle\u0301o-from-5-to-7-1962-2.png","wpvr_mobile-width":1140,"wpvr_mobile-height":733}}],"settings":{"fit_width":"6","caption":"Cl\u00e9o from 5 to 7 (1962). The Criterion Collection. "}},{"acf_fc_layout":"text_area","text_area":"<p><span style=\"font-weight: 400;\">But to acknowledge the problems in Varda\u2019s cinema is to understand it. To demand perfection from women filmmakers is to put them to a standard that we do not hold for men, and it flattens their complexity and context into a simplistic ideal. Agn\u00e8s Varda is not someone we can contemplate through a single lens, and I am saddened when I see her pigeonholed. Far too often, she was depicted as nothing more than a cute old lady. From her start, she was labelled as the \u201cgrandmother of the French new wave,\u201d despite being its originator and contemporary, rather than a predecessor. More recently, she was seen as gently quirky, with her two-toned hair and love of cats, attached to innocuous films like <\/span><i><span style=\"font-weight: 400;\">Faces Places<\/span><\/i><span style=\"font-weight: 400;\"> (2017), or to fun cardboard cutouts at award shows. She was more than this. But to define her as the complete opposite, as purely radical, angry, and political, is to miss the point. She can be all these things, for if there is any way to characterise Agn\u00e8s Varda, it would be by her humanity. She was whimsical and fun, while also political. She was alternately tender and outraged. She was a feminist who still had her shortcomings. She was a revolutionary innovator who made some of the most important films in cinema history, while also being able to make mistakes.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">My own feelings for Varda have waned somewhat since my high school days \u2014 my cinematic interests have grown and changed. But I have retained a deep respect for Agn\u00e8s Varda, and her work. In her iconic status, she achieved something that few women have, which is less an indicator of her superiority and more one of the difficulty for women in the film industry to receive any recognition. Outspoken, creative, and curious, Varda\u2019s unique greatness reminds of us the need for women in film. In the name of her legacy, perhaps we can all be more open to cinematic space for complex, challenging women. <\/span><\/p>\n"},{"acf_fc_layout":"images","gallery":[{"ID":75534,"id":75534,"title":"45218.large","filename":"45218.large_.jpg","filesize":145577,"url":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","link":"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/45218-large\/","alt":"","author":"1","description":"","caption":"","name":"45218-large","status":"inherit","uploaded_to":75519,"date":"2019-04-02 16:08:00","modified":"2019-04-02 16:08:00","menu_order":0,"mime_type":"image\/jpeg","type":"image","subtype":"jpeg","icon":"https:\/\/www.sleek-mag.com\/wp-includes\/images\/media\/default.png","width":900,"height":662,"sizes":{"thumbnail":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","thumbnail-width":128,"thumbnail-height":94,"medium":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","medium-width":900,"medium-height":662,"medium_large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","medium_large-width":900,"medium_large-height":662,"large":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","large-width":900,"large-height":662,"1536x1536":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","1536x1536-width":900,"1536x1536-height":662,"2048x2048":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","2048x2048-width":900,"2048x2048-height":662,"trp-custom-language-flag":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","trp-custom-language-flag-width":16,"trp-custom-language-flag-height":12,"wpvr_mobile":"https:\/\/www.sleek-mag.com\/wp-content\/uploads\/2019\/04\/45218.large_.jpg","wpvr_mobile-width":900,"wpvr_mobile-height":662}}],"settings":{"fit_width":"6","caption":"Filmstill. The Gleaners and I (2000). Midas Filmes. "}},{"acf_fc_layout":"text_area","text_area":"<p>Chelsea Phillips-Carr edits\u00a0<a href=\"http:\/\/cleojournal.com\/\">Cl\u00e9o Journal<\/a>. You can find more of her writing <a href=\"http:\/\/www.chelseaphillipscarr.com\/\">here<\/a>.<\/p>\n"}]},"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v19.1 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Why we must remember the radical tenderness of Agn\u00e8s Varda Why we must remember the radical tenderness of Agn\u00e8s Varda<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Why we must remember the radical tenderness of Agn\u00e8s Varda Why we must remember the radical tenderness of Agn\u00e8s Varda\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.sleek-mag.com\/de\/article\/agnes-varda\/\" \/>\n<meta property=\"og:site_name\" content=\"Sleek Magazine\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/sleekmag\/\" \/>\n<meta property=\"article:published_time\" content=\"2019-04-02T15:44:09+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2019-04-02T16:23:33+00:00\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:site\" content=\"@sleekmag\" \/>\n<meta name=\"twitter:label1\" content=\"Verfasst von\" \/>\n\t<meta name=\"twitter:data1\" content=\"sleek\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebSite\",\"@id\":\"https:\/\/www.sleek-mag.com\/#website\",\"url\":\"https:\/\/www.sleek-mag.com\/\",\"name\":\"Sleek Magazine\",\"description\":\"Sleek is Germany\u2019s leading independent media house\/brand for creativity and innovation located in Berlin the creative capital of the world. 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