is the latest celebration of the creative spirit from Agnès Varda, who made her first film in 1954 and is now 89, with no signs of slowing down,”
. “Why should she? Films give her vitality, and she returns the favor to the medium.”
In the film, Lapin relates, Varda “travels across rural France with the street artist JR, who serves as co-director and drives a truck that’s also a giant photo booth. The pair visit beaches and factory towns and semi-abandoned villages, turning everyday folks on the street into collaborators on a public art project: snapping photos of faces and putting them on places. ‘To ask people if we can express our imaginations on their turf,’ as she puts it.'” To read the full article,
“The easygoing, episodic structure of their journey gives
a deceptively casual air,” says
. “It superficially resembles one of those ubiquitous cable-television shows in which a semi-celebrity bounces around the globe tasting the food and philosophizing with the locals. Ms. Varda and JR, who is tall and stylish and never takes off his sunglasses, are a charming pair. Their subjects are happy to chat, and touched (if also sometimes a little embarrassed) to behold their likenesses turned into large-scale public art installations. The film works just fine as an anthology of amiable encounters and improvised collaborations.
“But it’s a lot more than that. Despite its unassuming, conversational ethos — which is also to say by means of Ms. Varda’s staunchly democratic understanding of her job as a filmmaker —
reveals itself as a powerful, complex and radical work.” To read the full article,