#Agn��s Varda

[psykopaths]

Agnés Varda, (1995)

[livesunique]

Ms Luigia "Gina" Lollobrigida OMRI (4 July 1927 – 16 January 2023)

Destined to be called "The Most Beautiful Woman in the World", Ms Lollobrigida was the daughter of a furniture manufacturer, and grew up in the pictorial mountain village. She studied sculpture at Rome’s Academy of Fine Arts, and started her career with minor Italian film roles before coming third in 1947’s Miss Italia pageant. 

After refusing a contract with Howard Hughes to make three pictures in the United States in 1950, Ms Lollobrigida gained for starring turns in 1952’s “Fanfan la Tulipe” and 1953’s “Bread, Love and Dreams,” the latter of which netted her a BAFTA nomination for Best Foreign Actress.

Ms Lollobrigida’s first American film was “Beat the Devil,” a 1953 adventure comedy directed by John Huston that cast her opposite Humphrey Bogart. Over the course of the ’50s and ’60s, she starred in numerous French, Italian and European-shot American productions, with highlights including “Trapeze” with Burt Lancaster and Tony Curtis, “The Hunchback of Notre Dame” as Esmerelda, “Solomon and Sheba” with Yul Brynner, “Never So Flew” with Frank Sinatra and Steve McQueen, “Come September” with Rock Hudson, and “Woman of Straw” with Sean Connery, and “Buona Sera, Mrs. Campbell,” with Shelley Winters.

Her roles made her a major sex symbol of Italian cinema; in 1953, she won Italy’s David di Donatello award for Best Actress for her performance in the opera star Lina Cavalieri’s biopic “Beautiful But Dangerous,” known in Italian as “The World’s Most Beautiful Woman.” 

She later won two more David di Donatello Award for “Imperial Venus” and “Buona Sera, Mrs. Campbell,” a Golden Medal of the City of Rome in 1986, a 40th Anniversary David in 1996 and a 50th Anniversary David in 2006. In 1961, she won the Golden Globes’ Henrietta Award for “World Fan Favorite,” and received nominations for “Falcon Crest” and “Buona Sera, Mrs. Campbell.”

After the ’60s, Lollobrigida’s career began to slow down, but she continued to act intermittently, including in the 1995 Agnes Varda film “Les cent et une nuits de Simon Cinéma,” and in ’80s TV shows such as CBS’ “Falcon Crest” and ABC’s “The Love Boat.” 

Ms Lollobrigida also developed a successful second career in photojournalism during the ’80s. She obtained an exclusive interview with Cuban leader Fidel Castro and also photographed many famous film stars, as well as publishing a number of books of her photographs.

In 2011 she made her final film appearance, playing herself in a cameo for the Italian parody film “Box Office 3D: The Filmest of Films.”

The screen legend sale of some of her 23 jewels from her Bulgari  collection at Sotheby’s in 2013 to help fund an international hospital for stem-cell research. 

On 16 October 1999, Lollobrigida was nominated as a Goodwill Ambassador of the UN Food and Agriculture Organization

Ms  Lollobrigida won the Berlinale Camera at the Berlin Film Festival in 1986, Karlovy Vary Film Festival special prize in 1995, and the Rome Festival’s career prize in 2008. In 2018, she received a star on the Hollywood Walk of Fame.

Ciao, Gina, Riposa in Pace

(Armando Pietrangeli, “Light and Shadow,” Gina Lollobrigida,1960, Trapeze 1956, Woman Of Rome,1954, Salomon & Sheba,1959, Come September, 1961,Un Bellissimo Novembre,1968, The Hunchback of Notre Dame,1956, In London to publicise her book of photographs titled Italia Mia,1974, Fidel Castro shot by Ms Lollobrigida,1974, Gina Lollobrigida pictured on July 11, 2022 in Rome).

[playermagic23]

Kiran Rao on a segment of the audience's unhappiness with All We Imagine As Light not being selected for the Oscars: "I would have been equally respectful if they had chosen any other film"

The Laapataa Ladies crew is ecstatic that the film has been chosen as India's official Oscar entry. This certainly includes the film's director, Kiran Rao. In an interview with her, she expressed her delight at the news and more.

What was your reaction when you heard the news?

Actually, a relative texted me on our family group to inform me of the news, which appeared elsewhere. I was in the middle of reading a script and assumed he was mistaken, but soon after, messages and calls began to stream in. We haven't had time to completely process it. We are all looking forward to representing our country, which is both a tremendous honor and a daunting duty.

Did you think the Laapataa Ladies would go all the way to the Oscars? Honestly, I didn't! We submitted it and hoped for the best, as did everyone else. It's an honor and an exciting opportunity for all of us. It's only the beginning of what we hope will be an educational and gratifying adventure. At this point, the love, support, and counsel are overwhelming, and we're just soaking it all in.

And how do you respond to the social media outrage that All We Imagine As Light, a film that no one in India has seen, should have been chosen instead? I deeply accept the jury's choice and would have been equally respectful if it had chosen a different picture. I've heard great things about All We Imagine As Light, but I believe the jury must have discussed long and hard, thoroughly considering all of the films before reaching this conclusion. Finally, I think what's crucial is to be able to put our best foot forward and push limits, opening the door and paving the road even more for the next individual.

Of course, now begins the true fight to market the film in Los Angeles. Aamir Khan has plenty of experience with that. Would you seek his assistance? Absolutely! Collective knowledge and experience are extremely valuable, especially on this voyage. Aamir took up the task when people were less aware of what it entailed, and he will lead it again this time. Whether it's the teams at AKP (Aamir Khan Productions), Jio Studios, or Kindling, we've all been brainstorming and exchanging tools and expertise.

What, in your opinion, are the major characteristics that have made Laapataa so popular among discerning audiences? We made the picture with a lot of honesty, and I hope that shines through. It's been a long trip, but one thing hasn't changed: each team member's devotion. Whether it was my producers, cast, crew, or studio, it was 'aage badho, hum tumhare saath hain'. I will always treasure and cherish their dedication and pure affection.

Aamir couldn’t bring home the Oscar earlier. Are you hopeful that you will?

There is a quote by Martin Luther King Jr that I love which is ‘We must accept finite disappointment, but never lose infinite hope.’ This in every way summarises how all of us feel. We want to give it our best, we will give it our best.

Significantly, Satyajit Ray's Pather Panchali is still the most popular Indian film worldwide. Why do you believe we haven't created another Pather Panchali? Ray's films had the capacity to capture the beauty in the ordinary, the challenges of life, and the method in which he conveyed his stories was genuinely unequaled. However, I believe it would be unfair to expect another Pather Panchali. Each filmmaker adds a unique mix of influences and understanding to their distinct works. Personally, I believe that trying to imitate a work of art will never fully capture its original soul.

Who are your favorite filmmakers, and which ones have affected you? To be honest, the list is really long. Some favorites are Satyajit Ray, Yasujirō Ozu, Agnes Varda, Aki Kaurismaki, and Bong Joon Ho. However, there are small details in each of the films I've seen over the years that have stuck with me. As a filmmaker, I am excited to be able to learn new things on a regular basis.

[thenarddogmeister]

Cleo from 5 to 7. Dir Agnes Varda. 1962

This was a film, for me, that didn't immediately affect me but its power slowly crept up on me and so I wrote a review for it.

I really appreciate how the film (unfortunately) maintains its relevance despite being a film released in the 1960's. The main theme (presented to us through Varda's masterful directing) is the relationship between society and women. Mirrors are a recurring visual motif in the film and they indicate protagonist Cleo's warped sense of self due to outside influence on her identity, she feels like her identity is tied to her appearance.

A great example of this motif in action is the apartment scene. Looking closely at the mise en scene we can see that a chair is always skilfully placed facing anywhere Cleo might be (her bed, vanity desk etc...) She is always an object being viewed, even by us. Mirrors are also placed throughout the room, making Cleo's reflection accessible to her at any time. These details paired with the unnaturally brightly lit apartment all work together to make Cleo viewable. She later learns to find independence within her identity, which is symbolically portrayed through the breaking of a mirror. However, many of us can relate to this pre-epiphany Cleo. This idea of women being valued based on their appearance was recently brought to mainstream cinema in Greta Gerwig's Barbie. In a world of unscrupulous judgment and unrealistic standards, many of us (especially women) can relate to Cleo and also mistakenly place our identities in the hands and eyes of others. Not even just that anymore, with social media even people we would never meet in person can judge us and comment on us.

Breaking a mirror is traditionally a symbol of bad luck but for Cleo it was an omen of newfound freedom and a message that perhaps we need to rebel against tradition just as this symbolic mirror is doing. There is definitely much more to say about Cleo from 5 to 7 but I'll leave it here for now.

Agnes Varda was a woman of innovation, skill and authenticity. A true figure of the French New Wave in cinema and this film only proves that.

[drzito]

Las 242 peliculas que he visto en 2023 (parte 2)

122. Martyrs (Pascal Laugier, 2008)

123. Of time and the city (Terence Davies, 2008)

124. Pandorum (Christian Alvart, 2009)

125. La casa del diablo (Ti West, 2009)

126. Catfish (Ariel Schulman y Henry Joost, 2010)

127. Rare exports: Un cuento gamberro de navidad (Jalmari Helander, 2010)

128. Final Destination 5 (Steven Quale, 2011)

129. Infierno blanco (Joe Carnahan, 2011)

130. La maldicion de Rookford (Nick Murphy, 2011)

131. Berberian sound studio (Peter Strickland, 2012)

132. Turistas (Ben Wheatley, 2012)

133. Across the river (Lorenzo Bianchini, 2013)

134. Colonia V (Jeff Renfroe, 2013)

135. Como todas las mañanas (Toni Nievas, 2013)

136. El Congreso (Ari Folman, 2013)

137. The Sacrament (Ti West, 2013)

138. Vivir en peligro (Paul Wright, 2013)

139. El sopar (Pere Portabella, 2014)

140. Lucy (Luc Besson, 2014)

141. Sueñan los androides (Ion de Sosa, 2014)

142. Uno tras otro (Hans Petter Moland, 2014)

143. Equals (Drake Doremus, 2015)

144. Dope (Rick Famuyiwa, 2015)

145. 13 horas: Los soldados secretos de Bengasi (Michael Bay, 2016)

146. El Caso Sloane (John Madden, 2016)

147. El Contable (Gavin O'Connor, 2016)

148. El Vacio (Jeremy Gillespie y Steven Kostanski, 2016)

149. Holy Hell (Will Allen, 2016)

150. La autopsia de Jane Doe (André Øvredal, 2016)

151. Maria (y los demas) (Nely Reguera, 2016)

152. Swiss Army Man (Dan Kwan y Daniel Scheinert, 2016)

153. Without Name (Lorcan Finnegan, 2016)

154. Brawl in Cell Block 99 (S Craig Zahler, 2017)

155. Caras y Lugares (Agnes Varda y JR, 2017)

156. Good Time: Viviendo al limite (Benny y Josh Safdie, 2017)

157. Hagazussa (Lukas Feigelfeld, 2017)

158. Secretos Oscuros (Michael Pearce, 2017)

159. Ghost in the shell. El alma de la maquina (Rupert Sanders, 2017)

160. The Cloverfield paradox (Julius Onah, 2018)

161. Illang: La brigada del lobo (Kim Ji-Woon, 2018).

162. Normandia al desnudo (Philippe Le Guay, 2018)

163. Al otro lado de la ley (S Craig Zahler, 2018)

164. Apuntes para una pelicula de atracos (Leon Siminiani, 2018)

165. El odio que das (George Tillman Jr, 2018)

166. 303 (Hans Weingartner, 2018)

167. El Convento (Payl Hyett, 2018)

168. La primera purga: La noche de las bestias (Gerard McMurray, 2018)

169. Mudo (Duncan Jones, 2018)

170. Noche de lobos (Jeremy Saulnier, 2018)

171. 6 en la sombra (Michael Bay, 2019)

172. Bait (Mark Jenkin, 2019)

173. Escape room: Sin salida (Adam Robitel, 2019)

174. Fyre (Chris Smith, 2019)

175. Sator (Jordan Graham, 2019)

176. Swallow (Carlo Mirabella-Davis, 2019)

177. Us (Jordan Peele, 2019)

178. Ventajas de viajar en tren (Aritz Moreno, 2019)

179. Bad Boys for Life (Adil El Arbi y Bilall Fallah, 2020)

180. El año del descubrimiento (Luis Lopez Carrasco, 2020)

181. Last and First Men (Johann Johannsonn, 2020)

182. Socias y Enemigas (Miguel Arteta, 2020)

183. Undergods (Chino Moya, 2020).

184. A tiempo completo (Eric Gravel, 2021)

185. Belle (Mamoru Hosoda, 2021)18

186. Black Phone (Scott Derrickson, 2021)

187. Candyman (Nia DaCosta, 2021)

188. Censor (Prano Bailey-Bond, 2021)

189. Destello Bravio (Ainhoa Rodriguez, 2021)

190. El Escuadron Suicida (James Gunn, 2021)

191. Eles transportan a morte (Samuel M. Delgado y Helena Girón, 2021)

192. Escape Room: La Pel·lícula (Hèctor Claramunt, 2021)

193. Espiritu Sagrado (Chema Garcia Ibarra, 2021)

194. Hellbender (John Adams, Zelda Adams y Toby Poser, 2021)

195. King Car (Renata Pinheiro, 2021).

196. La casa de las profundidades (Julien Maury y Alexandre Bustillo, 2021)

197. La Hija (Manuel Martin Cuenca, 2021)

198. Lamb (Valdimar Jóhannsson, 2021)

199. Licorice Pizza (Paul Thomas Anderson, 2021)

200. Malignant (James Wan, 2021)

201. The ice road (Jonathan Hensleigh, 2021)

202. The Medium (Banjong Pisanthanakun, 2021)

203. Tiempo (M night Shyamalan, 2021)

204. Tros (Pau Calpe, 2021)

205. You are not my mother (Kate Dolan, 2021)

206. Aftersun (Charlotte Wells, 2022)

207. Almas en pena de Inisherin (Martin McDonagh, 2022)

208. Ambulance. Plan de huida (Michael Bay, 2022).

209. Argentina 1985 (Santiago Mitre, 2022)

210. As Bestas (Rodrigo Sorogoyen, 2022)

211. Black Panther: Wakanda Forever (Ryan Coogler, 2022)

212. Cangrejo Negro (Adam Berg, 2022)

213. Crimenes del futuro (David Cronenberg, 2022)

214. El agua (Elena López Riera, 2022)

215. El triangulo de la tristeza (Ruben Ostlund, 2022)

216. Emily, la estafadora (John Patton Ford, 2022)

217. En los margenes (Juan Diego Botto, 2022)

218. Enys Men (Mark Jenkin, 2022)

219. Eo (Jerzy Skolimowski, 2022)

220. Flux Gourmet (Peter Strickland, 2022)

221. La hija eterna (Joanna Hogg, 2022)

222. La paradoja de Antares (Luis Tinoco, 2022)

223. Men (Alex Garland, 2022)

224. Modelo 77 (Alberto Rodriguez, 2022)

225. Muertos muertos muertos (Halina Reijn, 2022)

226. O corpo aberto (Angeles Huerta, 2022)

227. Predator. La Presa (Dan Trachtenberg, 2022) 

228. Puñales por la espalda: El misterio de Glass Onion (Rian Johnson, 2022)

229. RRR (SS Rajamouli, 2022)

230. Suro (Mikel Gurrea, 2022)

231. Vesper (Kristina Buozyte y Bruno Samper, 2022)

232. You won’t be alone (Goran Stolevski, 2022)

233. X (Ti West, 2022)

234. Asteroid City (Wes Anderson, 2023)

235. Barbie (Greta Gerwig, 2023)

236. El banco de Dave (Chris Foggin, 2023)

237. Elemental (Peter Sohn, 2023)

238. Indiana Jones y el dial del destino (James Mangold, 2023)

239. Llaman a la puerta (M Night Shyamalan, 2023)

240. Mision Imposible: Sentencia Mortal - Parte 1 (Christopher McQuarrie, 2023)

241. Nadie te salvara (Brian Duffield, 2023)

242. The Creator (Gareth Edwards, 2023)

[shit-talk-turner]

Someone said there was another Cleo? We’re not up on French cinema so we��ll take your word for it / No one else, the film is set in the 60s in Paris and is entirely in black and white and is directed by Agnès Varda who I think is her favorite director

Yeah I bet she didn't see the movie, just like she didn't read Nabokov's book when she posted Lolita, and later tried to do the damage control with the Japanese subculture nonsense which, again, she knew nothing about except for what came up first on a Google search. She proved herself to be superficial and fake. Agnes Varda is her favorite director as much as The Strokes "influenced" her in her teens, as much as Nina Simone and Badalamenti "made impact" on her music career, or Jane B "inspired" her life style. Only young Jane B though, as Louise never acknowledges the existence of Jane past her young adult age, as if she stopped existing after 70's

^

[absencesrepetees]

along the coast (agnès varda, 1958)

[stainedglassgardens]

7p., cuis., s. de b., ... à saisir (Agnès Varda, 1984)

[isabelcostasixties]

Catherine Deneuve, Mick Jagger and Agnès Varda at the First Of The Film 'the Castle Life' In France, Paris, at the Biarritz cinema, on January 26, 1966. Photos by Jean-Claude Deutsch (Paris Match) ⭐️

[ozu-teapot]

7p., cuis., s. de b., ... à saisir (Short) | Agnès Varda | 1984

[monasterymonochrome]

Cléo de 5 à 7 (Cléo from 5 to 7), dir. Agnes Varda, 1962

[gael-garcia]

7p., cuis., s. de b., ... à saisir (1984, Agnès Varda)

[emmanuelleriva]

Cléo de 5 à 7 (1962) dir. Agnès Varda

[drinkingdownthepoison]

Agnès Varda, Les Creátures, 1966

[thediscreetcharmofmyself]

I think the protagonist in these shots are the typefaces and shop windows, don’t you agree?

Cleo from 5 to 7 dir. Agnes Varda (1962)

[filmaticbby]

Le Petit Amour (1988) dir. Agnès Varda