Jean-Baptiste Morin

A lo largo de cincuenta años de carrera y más de cien películas, el cineasta John Ford (1894-1973) forjó la leyenda del Lejano Oeste. Al dar un rostro a los más desfavorecidos, desde los humildes vaqueros hasta las minorías perseguidas, reveló como nadie las grandes divisiones sociales que existían y siguen existiendo en Estados Unidos. Más de cuatro décadas después de su muerte, ¿qué queda de su legado y de sus valores humanísticos en la memoria de quienes aman su obra?

Incapaz de hacer frente a la muerte de su madre, Martin decide irse a Tijuana en busca de Lola, una mexicana que conoció de pequeño y que ocupaba un lugar especial en la vida de su madre. Finalmente la encontrará en el “Americano”, un club privado donde Lola actúa como stripper todas las noches. Debut en la dirección del actor Mathieu Demy, hijo del cineasta Jacques Demy.

Director Agnès Varda gathers some of her collaborators from JACQUOT DE NANTES to discuss their experiences making the film, as well as show Varda wove her grief over the loss of her husband, Jacques Demy, into other projects.

Documental autobiográfico de la directora Agnes Várda. La realizadora francesa explora sus memorias, de forma cronológica, a través de fotografías, videos, entrevistas, representaciones y narraciones de su vida. (FILMAFFINITY)

Documental autobiográfico de la directora Agnes Várda. La realizadora francesa explora sus memorias, de forma cronológica, a través de fotografías, videos, entrevistas, representaciones y narraciones de su vida. (FILMAFFINITY)

A documentary film directed by French Agnès Varda as an extension of the exhibition 'L'île et elle'. The installation 'Les veuves de Noirmoutier' (or 'The Widows of Noirmoutier') had various women filmed by Varda, young and old, who spoke about their widowhood and their residence on the island of Noirmoutier. The film is a montage of these meetings, which are both simple and melancholic.

More than 40 years after making "Cléo de 5 à 7," Agnes Varda invites her star, two other cast members, and her assistant directors to look back. She takes us through the film, from opening scene to the end, visiting its Paris locales, placing her aged actors in the same spots, telling stories, and listening to others' reflections on the making of the film. She and they talk about making a film on a low budget, its showing at Cannes, and trying to fix a problem in the last shot. Her assistant directors discuss casting, costumes, sets, and the ways the film changed their approaches to filmmaking.

In this short film from 2005, Pierre-William Glenn, shooting from the back of a motorcycle, retraces the steps Cléo takes through Paris in CLÉO FROM 5 TO 7.

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived.

An adventure of three characters: Clarisse, a psychic’s apprentice, Lazare, who works at the Parisian catacombs, and the bronze statue of a lion at the Denfert-Rochereau (in the 14th arrondissement). Clarisse and Laraze meet daily, but one day Lazare disappears and the lion disappears as well!

An adventure of three characters: Clarisse, a psychic’s apprentice, Lazare, who works at the Parisian catacombs, and the bronze statue of a lion at the Denfert-Rochereau (in the 14th arrondissement). Clarisse and Laraze meet daily, but one day Lazare disappears and the lion disappears as well!

18 years after the making of the film "Vagabond", director Agnès Varda created this documentary which includes interviews with the cast.

Agnès Varda’s follow-up to her acclaimed documentary THE GLEANERS AND I takes us deeper into the world of those who find purpose and beauty in the refuse of society, revisiting many of the original film’s subjects.

Recorriendo Francia, Agnès Varda se ha encontrado con espigadores, recolectores, gente que busca entre la basura. Por necesidad, o por puro azar, estas gentes recogen los objetos desechados por otros. Su mundo es sorprendente. Y la directora, a su manera, es también una especie de espigadora que selecciona y recoge imágenes aquí y allá.

1947. On a beach, Madeleine, a waitress in a hotel restaurant, mother of a little boy, meets François, a rich and cultivated student. The force of attraction that pushes them towards each other is commensurate with the secrecy that each carries. If we know what Madeleine wants to leave behind by following this young man, we discover over time, what François is desperately trying to flee by mixing Madeleine's fate with his.