LES PLAGES D’AGNÈS LES GLANEURS ET LA GLANEUSE
華妲 1928 年生於比利時伊克塞爾，12 歲時為了逃避戰禍舉家遷往法國，在南部小鎮 塞特度過少女時期。後來她移居巴黎，在著名美術學院 École du Louvre 讀書，同時 在夜校進修攝影，20 歲時開始以劇場攝影師身份活躍於藝術圈。1954 年，她在家中 舉辦首個個人展覽，同年她創立了電影合作社 Ciné-Tamaris，拍攝首部作品《短角情 事》，其創新敘事手法一鳴驚人，掀開法國新浪潮之序幕，為她帶來「法國新浪潮祖 母」之美譽。
the hybridity of fiction and documentary, etc. Her works often focus on social topics such as gender and class, while devoted to capturing the verities with her insightful documentaries, including Gleaners and I, The Beaches of Agnès, and Faces Places. Moreover, her lifelong partner, Jacques Demy, played a significant role in her life and works. Among her films, Jacquot and The World of Jacque Demy are dedicated to him.
及後華妲埋首電影創作，作品包括短片、劇情片和紀錄片。她在電影結構上多次作 出大膽嘗試，如《五點到七點的琪奧》以實時拍攝、《無法無家》用上 13 個推鏡展 示主角心路變化、糅合紀錄和劇情片的敘事手法等等。她尤其關注性別和階級等社會 議題，醉心以紀錄片捕捉真實，拍出《拾穗者與我》、《眼睛相旅行》等出色佳作。 另一方面，其靈魂伴侶積葵丹美亦是她生命中不可或缺的一部份，如《童年拾趣》、 《丹美的電影宇宙》便是以丈夫為題而創作。
Throughout her cinematic career, Varda has earned acclamation worldwide, including Silver Bear at Berlinale, Golden Lion in Venice Film Festival, César Award for Best Documentary, as well as Honorary Award from Cannes and Oscars. In 2003, she began her third career as a visual artist at the Venice Biennale.
華妲的電影在多個影展大放異彩，曾勇奪柏林影展銀熊獎、威尼斯影展金獅獎、凱撒 獎最佳紀錄片、康城影展榮譽獎及奧斯卡終身成就獎等各項殊榮。她晚年投入視覺藝 術創作，作品曾在威尼斯藝術雙年展、龐比度藝術中心等地展出。
“i don’t think i had a career. i made films”
“I’m missing some people, you know, and this is not nostalgia. I miss them. This is melancholy.”
VISAGES VILLAGES
“this is all you need in life: a computer, a camera, and a cat.”
JACQUOT DE NANTES
les cent et u ne nuits
Agnès Varda was born in Ixelles, Belgium in 1928 and moved to the south of France in 1940 with her family to escape the war. She spent her teenage years in Sète then moved to Paris where she studied at the École du Louvre and took evening classes in photography. In 1948, she became a theatre photographer and held her first personal exhibition in 1954 in the courtyard of her home. That same year, Varda founded Ciné-Tamaris (a cooperative) to produce and direct her first feature, La Pointe courte, which has earned her the title “Grandmother of the French New Wave.” She has since directed short films and features, both fiction and documentaries. Her innovativeness is shown in her many narrative attempts: double-narrative (La Pointe courte), use of tracking shots (Vagabond),
1954 La Pointe courte 1957 Ô saisons Ô châteaux (short) 1958 L’Opéra-Mouffe (short) Du côté de la côte (short) 1961 Cléo de 5 à 7 — Cléo from 5 to 7 Les fiancés du pont Mac Donald (short) 1963 Salut les cubains (short) 1964 Le Bonheur 1965 Elsa la rose (short) 1966 Les Créatures — The Creatures 1967 Uncle Yanco (short) 1968 Black Panthers (short) 1969 Lions Love (...And Lies) 1970 Nausicaa 1975 Daguerréotypes (documentary) Réponse de femmes — Women Reply (short) 1976 Plaisir d’amour en Iran (short) L’Une chante l’autre pas — One Sings, the Other Doesn’t 1980 Mur murs — Mural, Murals (documentary) 1981 Documenteur 1982 Ulysse (short) Une minute pour une image (short) 1984 Les dites Cariatides — The So-Called Caryatids (short) 7 P., Cuis., S. De B. (short)
1985 Sans toit ni loi — Vagabond 1986 T’as de beaux escaliers, tu sais… — You’ve Got Beautiful Stairs, You Know (short) 1987 Jane B. par Agnès V. Kung-fu Master — Kung-Fu Master! 1990 Jacquot de Nantes — Jacquot 1992 Les Demoiselles ont eu 25 ans — The Young Girls Turn 25 (documentary) 1993/5 L’Univers de Jacques Demy — The World of Jacques Demy (documentary) 1994 Les Cent et une nuits — One Hundred and One Nights 2000 Les Glaneurs et la glaneuse — The Gleaners and I (documentary) 2002 Deux ans après — The Gleaners and I: Two Years Later (documentary) 2003 Le Lion volatil (short) 2004 Ydessa, les ours et etc... — Ydessa, the bears, and etc.(short) 2006 Quelques veuves de Noirmoutier (documentary) 2008 Les Plages d’Agnès — The Beaches of Agnès (documentary) 2010/1 Agnès de ci de la Varda — Agnès Varda : from Here to There (documentary) 2015 Les trois boutons (short) 2017 Visages Villages — Faces Places (documentary)
“in a documentary, i am at the service of the people i film. they are the main thing.”
問：整體來說，你的電影常常圍繞女性心理和她們的主體性。在女性描寫不算豐富的 年代，你的電影提供了細膩的刻畫。你的靈感從何而來？ 艾麗絲華妲：可能是因為我比男人更了解女人吧！我也拍男人和小孩。你可能看過 《一百零一夜》和《Les Créatures》，我這兩套電影有很多關於男人的刻畫，《沙灘 上的華妲》也有。我不覺得我只聚焦女性，但我最出名的電影都是關於女性，那倒是 真的，好像 Cléo、《無法無家》的 Mona 和 Jane B.，這些女性描寫都準確而溫暖。即 使 Mona 如此暴躁，我仍然很喜歡她，對她有濃厚的興趣。 Q: Talking about the entirety of your work, one of its recurring themes is female psychology, the feminine subjectivity. You conveyed this so well in cinema and also at a time when portraits of women were not very complex. What was the inspiration for that? Agnès Varda : Maybe I understand women better than men do. But I also did portraits of men, of children. Maybe you saw One Hundred and One Nights, The Creatures. In these I spoke a lot about men, also in Beaches of Agnès. I don’t have the impression that I focused exclusively on women. But it’s true that probably the most well-known portraits that I created are those of women: Cléo, Mona in Vagabond, Jane B. These are very precise portraits of women, and also very warm portraits. Even Mona who is so angry, I like her a lot, she interests me a lot.[1]
問：在你眼中，「非劇情」和「紀錄片」有什麼分別？為什麼你對任何一個詞語都沒 有偏好？
艾麗絲華妲：《唱不唱由你》中的經典曲目是「當家作主的不再是爸爸，也不是教宗 和國王……不是法官，不是醫生，不是議員。」我記不清了，總之歌詞是有關作詞和 立法……但我知副歌是這樣的︰「我的身體屬於我。」我們的訊息有部份是唱出這些 女權運動的中心訴求，唱出女性應該掌握自己身體的思想。 Agnès Varda : The classic song of L’une chante (One Sings, The Other Doesn’t) is “It’s not about papa anymore, nor the pope or king... not the judge or the doctor or the lawmaker.” I can’t recall all the words just now, something about making the lyrics and making the law... But I know the refrain was “My body belongs to me,” sung out. It was part of our message to sing these demands that were totally at the heart of this women’s revolt, the idea that they should govern their own bodies. [2] 問：新浪潮導演不是有性別歧視的嗎？
艾麗絲華妲：創作劇情片時，我嘗試重組腦海內已有的東西，為的是感動觀眾，也為 表達我的訊息。拍紀錄片時，我是在服務被我拍攝的人，他們才是主角。我並不想躲 藏，在這套電影 (《眼睛相旅行》) 裡我們都露面了。我們拍這套電影是為了向被拍者 致敬，我們理應不出鏡，但我們的歷險變得太有趣了，所以我們不像普遍紀錄片導演 般隱身在鏡頭後。 Q: What do you see as the difference between “nonfiction” and “documentary”? Why don’t you like one title over the other? Agnès Varda : In a fiction film that I write, I want it to resemble what I have in mind. So, to touch the people — to pass the project and message. In a documentary, I am at the service of the people I film. They are the main thing. So, it is not that I want to hide, because in this film (Faces Places) we showed ourselves. But we made the film to make light and give value to the people we filmed. So, we are supposed to be behind the camera, but because our adventure became something interesting, we’re not hidden like in most documentaries. [5]
艾麗絲華妲：全世界都有性別歧視！電影是男人拍的，他們有時很厭女……其實大部 分時間也是。他們明顯和所有藝術家一樣，對美（的女演員）有追求。 Q: Weren’t the New Wave film-makers sexist? Agnès Varda : The whole world was sexist! Cinema was made by men. They were sometimes misogynist… Most of the time, they were. Obviously, like all artists, they had a taste for beauty – for beautiful actresses. [3]
問：你是在都爾遇到積葵丹美的嗎？ 艾麗絲華妲：在美不勝收的都爾火車站！我們在 1956 年的都爾短片節相遇，我的 《Du côté de la côte》和他的《Le Bel Indifférent》都有作放映。接著的一年，又在都 爾，我…… 這樣說吧，有一股突如其來的感覺！我倆一起走過美麗而悠長的旅程，中 間也曾有一點風暴。 Q: Is it true that you met Jacques Demy in Tours?
問：從你的第一套電影開始，你就將劇情片元素帶進紀錄片，又將紀錄片元素帶進劇 情片。在你鏡頭下，現實總是有無限可能，比純粹的紀實或幻想更引人入勝。你覺得 這是自然而然的結果，還是你致力達到的目標？ 艾麗絲華妲：你的問題問得太好了，裡面已經有我的答案。雖然拍紀錄片時我是為主 角服務，但擦去或模糊紀實和虛構之間的界線是一件很自然的事。有時候，真實的人 也會性格鮮明得仿似虛構角色。反之，當我和演員合作，我會嘗試捕捉他們的真實一 面。我身為旁觀者、有同理心的見證人和作者，我也努力忠於自己。 Q: From your very first film, you’ve brought elements of narrative filmmaking into your documentary practice and vice versa. Your realities are very flexible, and in this way you achieve something much more interesting than just documentation or fantasy. Do you think this is a natural outcome of your working methods, or did you set out to find a way to achieve this? Agnès Varda : Your question is so perfectly composed that it contains my answer. It feels natural to erase or smooth the borders between documentary and fiction, even though when I do a documentary I am at the service of the subject, or the subjects. Real people have sometimes such a personality that they become characters. When I work with actors, on the other hand, I try to catch the elements of reality that present themselves. I also try to stay true to myself as the observer, the empathic witness, the author. [4]
Agnès Varda : At the Tours train station that I find so pretty! We met each other at the short films festival in Tours in 1956. I showed Du côté de la côte and he showed Le Bel Indifférent. The next year, again in Tours, it… let’s say, stroke me a little! We had together a beautiful and long journey, in which there were some storms. 問：當你想起他，第一件想起的事是什麼？ 艾麗絲華妲：他仍然是我生命裡一個安靜的存在。我常常對自己講︰如果他還在，我 會和他看這套電影，之後我們會談起這個展覽。自從他不在以後，我繼續拍電影，拍 了很多 —— 當我認識他時，我已經熱愛拍電影。例如我幫 Arte 拍了5 集《Agnès de ci de là, Varda》，我很喜歡。每次出遊，我都會帶一部小攝錄機。在法國，我在塞特拍 過 Pierre Soulages，在大皇宮拍過 Christian Boltanski，在 Chris Marker 的工作室拍 過他本人…… 觀眾一直在旅程上陪伴著我，就像重遇在加州度過黃金歲月的我一樣。 Q: When you think of him, what comes up to you immediately? Agnès Varda: He is a quiet presence still close to me. I often talk to myself: such film I would have watched with him, or such exhibition that we would have talked about afterwards. Since I had lived without him, I worked a lot, continued making films — it is a passion I already had when I met him. I loved, for example, making the 5 episodes for Arte, Agnès de ci de là, Varda. I brought a mini-camera with me to every trip. And in France, I also shot Pierre Soulages at Sète, Boltanski at the Grand Palais, Chris Marker in his workshop… The audience accompanied me in my journeys as if they found me in my old days, the Californian days. [6]
問：《童年拾趣》對你和積葵丹美來說，一定是段很私密的旅程。和積葵一起拍攝這 套電影的感覺是怎樣？ 艾麗絲華妲：我們拍攝的時候，他已經知道他快要離開了。他不夠體力自己做，所以 就由我執導。拍電影講述他人的童年是極富趣味的體驗，就像走近一個秘密一樣。即 使你和一個人相依多年，你仍然無法掌握他的童年。在他的允許下探索他複雜的童 年，是個奇妙得叫人難以置信的經驗。我的電影對我來講一直是至關重要的經歷，所 以我才以此為業。每一套電影的誕生都有特別原因，不論這個原因是好是壞，都能發 展出自己的生命。 Q: Jacquot de Nantes must have been a very personal experience for both you and Jacques Demy. What was it like making that, with Jacques? Agnès Varda : Well, he knew he was dying when we did it. He didn’t have the strength to do it himself, which is why I directed it. It was an interesting experience making a film about somebody else’s childhood, almost like approaching a mystery, in a way. This is the part that can escape you, in a way, when you’re with someone for many years. So entering his childhood with his complicity, and his agreement, was an incredible experience. So my films have always been vital experiences for me. That’s why I made a career of it. Each film was born from a specific reason, bad or good, but growing organically. [7]
艾麗絲華妲︰你看，這影像（《短角情事》）點出了一些沒有講明的東西，一些我想 大家去感受的東西。這對情人坐著、沉默喪氣，影像中很多事物表達了他們正經歷的 事情。他們一起找尋兩人間的真相或傷口，我不知道誰會因分開而受傷更深，他們 的靈魂在沉默中撕裂。而在他們身後，有一隻貓，然後再有幾隻貓出現，要抓一根木 柱。當然我很幸運，那正是我期待的畫面，因那邊常常有貓出沒。所以我對演員說︰ 「坐著，不要動，等一下。」我們等著，一隻小貓開始抓柱，然後到另一隻，何其美 妙！我的期望因為機緣得以成真…… Agnès Varda: You see, that image (in La Pointe courte) says something that isn’t spoken, and that I want us to feel. Many of the images represent what this couple is experiencing when they’re sitting, silent and discouraged. They are seeking their truth together, or the wound, I don’t know which of the two suffers more from the idea of separating; their souls are tearing in silence. Behind them, a cat, then several cats, are scratching a wooden post and they turn and scratch. Obviously I was lucky, that’s what I was hoping for because there were always cats in that neighborhood. So I said to the actors, “Sit there. Don’t move, just wait.” And we waited and the cat started scratching. And then another. It was gorgeous! When chance fulfills my expectation… [8]
問：你覺得你的電影今日可帶給觀眾什麼？ 艾麗絲華妲︰我會說是動力。我會說是對電影的熱愛和直覺。一個憑直覺創作、渴望 展露才智的女子。電影裡有情感，有直覺，有發掘到新事物的喜悅。一種對美的追 尋，儘管美可能根本不在那裡。一種直視，同時著重電影的結構和組織，嘗試顯得聰 明，以及做我相信是「電影書寫」的事。電影書寫不是劇本，並非只是敘事的文字。 電影書寫是關於選擇主題、地點、季節、工作人員，選擇鏡頭、地點、攝影機鏡頭、 燈光；選擇你對人、對演員的態度；選擇如何剪接、配樂。選擇當代音樂家，選擇混 音的聲調，選擇宣傳用品、傳媒小冊子、海報。我真心相信，電影是一門人手製作的 工藝。我叫這做電影書寫。 Q: What do you think your films offer to people today? Agnès Varda: I would say energy. I would say love for filming, intuition. I mean, a woman working with her intuition and trying to be intelligent. It’s like a stream of feelings, intuition, and joy of discovering things. Finding beauty where it’s maybe not. Seeing. And, on the other hand, trying to be structural, organized; trying to be clever. And doing what I believe is cinécriture, what I always call cine-writing. Which is not a screenplay. Which is not only the narration words. It’s choosing the subject, choosing the place, the season, the crew, choosing the shots, the place, the lens, the light. Choosing your attitude towards people, towards actors. Then choosing the editing, the music. Choosing contemporary musicians. Choosing the tune of the mixing. Choosing the publicity material, the press book, the poster. You know, it’s a handmade work of filmmaking — that I really believe. And I call that cinewriting. [9]
問：你發明了電影書寫，這個概念與《沙灘上的華妲》中很個人、很私密的部分有沒 有衝突？ 艾麗絲華妲︰沒有衝突，我認為私密的部分是必要的，因為……例如坐在這裡感覺很 有趣，因為我可以數著人們去廁所的頻率……不，我覺得我必須表現自己，雖然不會 太多就是了。我談論其他人，給他們起名字。這些人都在我周圍 —— 你知道嗎？他 們就是我。自我多年前遇到積葵丹美開始，到我與他共度無數時光、經歷高低起伏， 他的形象一直在中心。我們在一起，希望能一起老去，然後他就死了！但生命還在繼 續，我還在工作，我希望這一切到頭來還是有意義。積葵對在我生命裡舉足輕重，到 現在也是。不過拍電影一直也同樣很重要，無論他出現前後也一樣，我不會隱藏這一 點。只要我活著，我就是個電影人。 Q: You have invented this idea of cinécriture, the film essay. Was there a conflict between that and the very personal, intimate aspect of the movie (The Beaches of Agnès)? Agnès Varda: There was no conflict, because I think the parts that were intimate were needed because… You know, being here is very interesting because I can calculate the rhythm of people going to the toilet… No, I was feeling that I had to show myself. Not too much, though. Talking about other people, naming them. They’re around me — they’re me, you know? The figure of Jacques Demy is really at the center, since I met him years ago and had so many years with him, with some ups and downs. We came together wishing to age together — and then he died! But life is not finished and I’m still working, and all this is mixed in a way that I hope makes sense. He has been very important in my life, is still very important, but making film has also been very important, before him and after him. I don’t hide that. As much as I’m alive, I’m a filmmaker. [10]
問：你有「新浪潮祖母」的美譽，你對此有什麼感覺？
問：對你來說，新浪潮是怎樣開始的？
艾麗絲華妲︰我很喜歡！我那時 30 歲，我記得一本雜誌裡有我的照片，旁邊寫著 「新浪潮祖宗」。我 30 歲時的樣子還可以，對吧？所以我就想，如果我 25 歲就成了 祖宗和祖母，到我真的做祖宗和祖母時，應該可以很自在。我很喜歡，一點也不介 意。我那時看上去還不錯，這樣叫又不會把我叫醜了。
艾麗絲華妲︰很多人都不知道，「電影作者」這概念得以建立，電影會起了很大作 用。50 年代前，你可以在法國的電影院看到標榜演員尚嘉賓、瑪汀嘉露和西蒙娜西 門主演的電影，電影會則會放映尚雷諾亞和茂瑙導演的電影，強調他們美學的感知。 當新浪潮來到，大家都能接受他們在看「高達的電影」或「華妲的電影」，而不是 「珍茜寶主演」的電影。當然，《電影筆記》隨後的耕耘，確立了作者論。
Q: You were given the name of “Grandmother of the Nouvelle Vague.” How do you feel about that? Agnès Varda: I love that! I was thirty. I remember my photograph in the magazine and it says: “Ancestor of the New Wave.” And I looked OK at thirty, eh? So I thought, If I’m an ancestor and grandmother when I’m twenty-five, I should go peacefully to the real time when I’m an ancestor and a grandmother. No, I love that. I don’t care. I was not looking bad so it didn’t hurt my appearance, as I would say.[11]
Q: According to you, how did the Nouvelle Vague get started? Agnès Varda: What’s not widely known is that the cine-clubs played a very important role in establishing the concept of an auteur. Until the 50s, you went to the movies in France to see a film with Jean Gabin, Martine Carol, Simone Simon, actors of the period. But the cine-clubs showed films by Renoir and Murnau and emphasized the director’s sensibility. So when the Nouvelle Vague arrived, everyone accepted they were watching a film by Godard or Varda, not a Jean Seberg film. And of course, Cahiers du Cinema subsequently developed this notion, la politique des auteurs.[12]
“as much as i’m alive, i’m a filmmaker”
短角情事
La Pointe Courte 五時到七時的琪 奧
Cléo from 5 to 7 幸福樂園
Le Bonheur 如獅如醉
Lions Love (... and Lies) 唱不唱由你
One Sings, The Other Doesn’t 無法無家
Vagabond 戀愛遊戲
Kung-Fu Master! 童年拾趣
Jacquot 一百零一夜
One Hundred and One Nights 拾穗者與我
The Gleaners and I 沙灘上的華妲
The Beaches of Agnès 眼睛相旅 行
Faces Places
6/6
Wed
8:00pm
BC
16/6
Sat
4:05pm
BC
7/6
Thu
8:00pm
BC
16/6
Sat
5:50pm
BC
8/6
Fri
8:10pm
BC
10/6
Sun
5:50pm
IFC
9/6
Sat
7:40pm
BC
15/6
Fri
7:45pm
MM
10/6
Sun
5:25pm
BC
15/6
Fri
9:50pm
BC
9/6
Sat
3:50pm*
BC
14/6
Thu
9:50pm
BC
10/6
Sun
3:50pm
BC
13/6
Wed
8:00pm
IFC
8/6
Fri
9:50pm
BC
12/6
Tue
7:35pm
MM
11/6
Mon
7:35pm
BC
16/6
Sat
7:35pm
BC
9/6
Sat
2:15pm
BC
17/6
Sun
6:25pm
BC
14/6
Thu
7:40pm
IFC
17/6
Sun
4:20pm
BC
16/6
Sat
7:40pm
PP
17/6
Sun
8:00pm
BC
*設映後講座 Post Screening Talk
艾麗絲華妲座談：流浪的靈感
Agnès Varda Film Talk 《無 法 無家》是艾 麗絲 華妲早期大 獲 成 功的劇情長片。流 浪女 Mona，儘管遊走在生存底 線的 邊 緣，卻 追 逐 精 神上的自由無 縛，寧為玉碎，不求 瓦全，可謂是 華 妲 對 靈 魂 棲 居 理 想 狀 態 的宣 言。由 Mona 到拾穗者，華妲總是任由創作靈感自由奔走，在不同的文化視點中穿針引線。本次 講座希望能從《無法無家》出發，理解華妲一以貫之的創作態度。 *講座以廣東話進行 conducted in Cantonese 日期 Date: 9/6 5:30pm 地點 Venue: 百老匯電影中心一樓 Broadway Cinematheque 1/F 講者：喬奕思，香港電影評論學會 會員。曾任香港華語紀錄片節、香港國際電影節國際影評人費 比西獎、華語傳媒大獎評審。作品見於《號外》、《Hkinema 》等媒體。 Speaker: Joyce Yang, a film critic, member of Hong Kong Film Critics Society. She has served as a jury member for the Hong Kong Film Awards, Chinese Film Media Awards and Chinese Documentary Festival in Hong Kong. Her film reviews appear in various publications including City Magazine, HKinema
Source: [1] Knight, D. (2015). Agnès Varda Reflects on ‘Jane B. by Agnès V.’ and ‘Kung-Fu Master!’. The Independent Magazine. [2] Conway, K. (2015). Agnès Varda. University of Illinois Press: Champaign, p. 137. [3] Wood, G. (2015). Agnès Varda interview: ‘The whole world was sexist!’. The Telegraph. [4] McDonnell, V. (2016). Agnès Varda Interview. Screen Slate. [5] Goldberg, P. (2017). Interview: Agnès Varda and JR on Finding the Art in Life with Faces Places. Slant Magazine. [6] Brinaire, J. (2014). Agnès Varda : “ J’ai rencontré Jacques Demy à Tours “. La Nouvelle république. [7] Simon, A. (2009). Agnès Varda Hits the Beach. The Hollywood Interview. [8] Conway, K. (2015). Agnès Varda. University of Illinois Press: Champaign, p. 144. [9] Meyer, A. (2001). INTERVIEW: “Gleaning” the Passion of Agnes Varda: Agnes Varda. IndieWire. [10] Dawson, N. (2009). Agnès Varda, The Beaches Of Agnes. Filmmaker Magazine. [11] Heti, S. (2009). Agnès Varda. Believer Magazine. [12] Béar, L. (2009). Agnès Varda. Interview Magazine.