The Gleaners and I
Encyclopedia
The Gleaners and I is a French
documentary
by Agnès Varda
that features various kinds of gleaning
. It was entered into competition at the 2000 Cannes Film Festival
("Official Selection 2000"), and later went on to earn awards around the world.
as they hunt for food, knicknacks, and personal connection. Varda travels French countryside and city to find and film not only field gleaners, but also urban gleaners and those connected to gleaners, including a wealthy restaurant owner whose ancestors were gleaners. The film spends time capturing the many aspects of gleaning and the many people who glean to survive. One such person is the teacher named Alain, an urban gleaner with a master's degree who teaches French to immigrants.
Varda's other subjects include artists who incorporate recycled materials into their work, symbols she discovers during her filming (including a clock without hands and a heart-shaped potato), and the French law regarding gleaning. Varda also spends time with Louis Pons
, who explains how junk is a "cluster of possibilities".
This film has an unexpected brief interview with the psychoanalyst Jean Laplanche
.
and for its unusual camera angles and techniques. In one particular scene Varda, the filmmaker, forgets to turn off her camera. As the camera hangs to her side the filming proceeds, and the viewer can see the shifting ground and the dangling lens cap with a jazz music background. Varda calls this shot "The Dance of the Lens Cap".
In The Gleaners and I, Varda films herself combing her newly discovered gray hair, and there are many visuals of her aging hands. She frequently "catches" trucks on the freeway, forming a circle with her hand in front of the camera framing the truck in the center, then closing her hand as she drives past them.
Much of this footage is woven into the film to show that Varda, as a film maker, is also a gleaner. This concept is made explicit in the French title, Les glaneurs et la glaneuse, which could be translated as "the gleaners and the gleaneress".
What is it about The Gleaners and I that so captivated audiences and critics? Ruby Rich believes that "it’s due in considerable part to Agnès Varda’s own presence” (33). For French filmgoers and fans of art house cinema, Varda’s presence is certainly a familiar one. Born in 1928, Varda “was 25 years old when she made her first feature La Pointe-Courte (1954), which French film historian Georges Sadoul called "the first film of the French nouvelle vague [or New Wave]" (Darke). Between her 1954 debut and the release of The Gleaners and I in 2000, Varda directed more than 32 other films (“Press Kit”) including seven features that film critic Rodger Ebert hailed as masterpieces: Uncle Yanco (1968), Daguerrotypes (1975), One Sings, the Other Doesn't (1976), Vagabond (1985), Kung Fu Master (1987), and A Hundred and One Nights (1995).
Labeled the grandmother of the French New Wave by countless critics and scholars, Varda’s stature in cinema history is in little dispute, yet some argue the popularity of The Gleaners and I is not due to Varda’s stature alone. Haden Guest sees the ease with which Varda blends documentary and narrative technique as a key reason that her films continue to be so relevant, especially “as we witness a resurgence of documentary and a particularly strong interest in hybridized modes of fiction/nonfiction cinema” (48). Jake Wilson, on the other hand, conjectures that Varda (while perhaps not fully realizing it) tapped into the cultural zeitgeist and constructed a film that “embodies a quasi-anarchist ethos” that is built on a “resistance to consumerism, a suspicion of authority, and a desire to reconnect politics with everyday life.”
Varda’s The Gleaners and I is notable in another regard, as well. Here, in a film about gleaning, Varda recognizes that she is, herself, a gleaner. “I'm not poor, I have enough to eat,” says Varda, but she points to “another kind of gleaning, which is artistic gleaning. You pick ideas, you pick images, you pick emotions from other people, and then you make it into a film” (Anderson 24). To collecte the objects of her gleaning, Varda chooses a digital video camera. In a number of scenes Varda shows and discusses the camera itself and in so doing transforms a film about waste into a reflexive meditation on the art of digital documentary. While Varda did not pioneer the reflexive documentary (that honor goes to Dziga Vertov and his 1929 masterpiece Man with a Movie Camera) (Chapman 114), Varda’s work has long been notable for its “reflexive and first-person tendencies” (Guest 46).
Another factor that makes The Gleaners and I especially noteworthy in the context of cinematic history is the fact that a filmmaker of Varda’s stature chose to abandon high-end film equipment for low-end digital video. For Varda, the decision was in many ways a practical one. As she notes in her interview with Melissa Anderson “I had the feeling that this is the camera that would bring me back to the early short films I made in 1957 and 1958. I felt free at that time. With the new digital camera, I felt I could film myself, get involved as a filmmaker” (24). Varda’s choice to make a camcorder a primary tool of production as well as a central element of her film, can be seen as an implicit (if not explicit) recognition of a new digital era in documentary filmmaking. Yet, for Varda, “the first-person, artisan film-making encouraged by digital video [was] nothing new” (Darke). While she acknowledges video’s convenience, she downplays any larger significants: "What's missing in all this talk of digital technologies is the understanding that ... they're not ends in themselves"(Darke). For Varda, digital cameras and editing equipment are simply tools that enable her to film by herself and to get closer to people "and to collapse the time lapse between wanting to film something and actually being able to do it" (Darke).
Cinema of France
The Cinema of France comprises the art of film and creative movies made within the nation of France or by French filmmakers abroad.France is the birthplace of cinema and was responsible for many of its early significant contributions. Several important cinematic movements, including the Nouvelle...
documentary
Documentary film
Documentary films constitute a broad category of nonfictional motion pictures intended to document some aspect of reality, primarily for the purposes of instruction or maintaining a historical record...
by Agnès Varda
Agnès Varda
Agnès Varda is a French film director and professor at the European Graduate School. Her movies, photographs, and art installations focus on documentary realism, feminist issues, and social commentary — with a distinct experimental style....
that features various kinds of gleaning
Gleaning
Gleaning is the act of collecting leftover crops from farmers' fields after they have been commercially harvested or on fields where it is not economically profitable to harvest...
. It was entered into competition at the 2000 Cannes Film Festival
2000 Cannes Film Festival
The 2000 Cannes Film Festival started on May 14 and ran until May 25. The Palme d'Or went to the Danish film Dancer in the Dark by Lars von Trier.-Jury:* Luc Besson, President * Jonathan Demme * Nicole Garcia...
("Official Selection 2000"), and later went on to earn awards around the world.
The Subjects
The film tracks a series of gleanersGleaning
Gleaning is the act of collecting leftover crops from farmers' fields after they have been commercially harvested or on fields where it is not economically profitable to harvest...
as they hunt for food, knicknacks, and personal connection. Varda travels French countryside and city to find and film not only field gleaners, but also urban gleaners and those connected to gleaners, including a wealthy restaurant owner whose ancestors were gleaners. The film spends time capturing the many aspects of gleaning and the many people who glean to survive. One such person is the teacher named Alain, an urban gleaner with a master's degree who teaches French to immigrants.
Varda's other subjects include artists who incorporate recycled materials into their work, symbols she discovers during her filming (including a clock without hands and a heart-shaped potato), and the French law regarding gleaning. Varda also spends time with Louis Pons
Louis Pons
Louis Pons is a French collage artist. He specializes in reliefs and assemblages made entirely from discarded objects and junk. In Agnès Varda's documentary The Gleaners and I, Pons explains his artistic process and understanding of art; what others see as "a cluster of junk," he sees as "a...
, who explains how junk is a "cluster of possibilities".
This film has an unexpected brief interview with the psychoanalyst Jean Laplanche
Jean Laplanche
Jean Laplanche is a French author, theorist and psychoanalyst. Laplanche is best known for his work on psychosexual development and Sigmund Freud's seduction theory, and has written more than a dozen books on psychoanalytic theory...
.
Technique
The film is notable for its use of a hand-held cameraHand-held camera
Hand-held camera or hand-held shooting is a filmmaking and video production technique in which a camera is held in the camera operator's hands as opposed to being mounted on a tripod or other base. Hand-held cameras are used because they are conveniently sized for travel and because they allow...
and for its unusual camera angles and techniques. In one particular scene Varda, the filmmaker, forgets to turn off her camera. As the camera hangs to her side the filming proceeds, and the viewer can see the shifting ground and the dangling lens cap with a jazz music background. Varda calls this shot "The Dance of the Lens Cap".
In The Gleaners and I, Varda films herself combing her newly discovered gray hair, and there are many visuals of her aging hands. She frequently "catches" trucks on the freeway, forming a circle with her hand in front of the camera framing the truck in the center, then closing her hand as she drives past them.
Much of this footage is woven into the film to show that Varda, as a film maker, is also a gleaner. This concept is made explicit in the French title, Les glaneurs et la glaneuse, which could be translated as "the gleaners and the gleaneress".
Historical Significance
The Gleaners and I was first screened out of competition at the 2000 Cannes Film Festival ("Official Selection 2000"). The same year it had its North American premiere at the Toronto International Film Festival (Portuges 305). It went on to earn awards around the world including top honors at the Chicago International Film Festival, Boston Society of Film Critics Awards, the European Film Awards, the French Syndicate of Cinema Critics, the Los Angeles Film Critics Association Awards, the National Society of Film Critics Awards (USA), the New York Film Critics Circle Awards, Online Film Critics Society Awards and the Prague One World Film Festival ("The Gleaners & I"). In addition to its festival honors, The Gleaners and I was also “declared the best French film of 2000 by the French Union of Film Critics, which broke with tradition by not choosing a dramatic film” (Rich 33). But it wasn’t just critics and festival-goers that responded to the film. In France, it brought audiences to theaters for over eight months (Rich 33) and in Paris it attracted 43,000 movie-goers during “the first nine weeks of its summer release” (Darke). Haden Guest, the director of the Harvard Film Archive, hailed The Gleaners and I as “one of Varda's most powerful and popular films” (47). Even Varda, herself, remarked at the film’s success, "I've never in my entire career felt that people have loved a film of mine as much as this one” (Darke).What is it about The Gleaners and I that so captivated audiences and critics? Ruby Rich believes that "it’s due in considerable part to Agnès Varda’s own presence” (33). For French filmgoers and fans of art house cinema, Varda’s presence is certainly a familiar one. Born in 1928, Varda “was 25 years old when she made her first feature La Pointe-Courte (1954), which French film historian Georges Sadoul called "the first film of the French nouvelle vague [or New Wave]" (Darke). Between her 1954 debut and the release of The Gleaners and I in 2000, Varda directed more than 32 other films (“Press Kit”) including seven features that film critic Rodger Ebert hailed as masterpieces: Uncle Yanco (1968), Daguerrotypes (1975), One Sings, the Other Doesn't (1976), Vagabond (1985), Kung Fu Master (1987), and A Hundred and One Nights (1995).
Labeled the grandmother of the French New Wave by countless critics and scholars, Varda’s stature in cinema history is in little dispute, yet some argue the popularity of The Gleaners and I is not due to Varda’s stature alone. Haden Guest sees the ease with which Varda blends documentary and narrative technique as a key reason that her films continue to be so relevant, especially “as we witness a resurgence of documentary and a particularly strong interest in hybridized modes of fiction/nonfiction cinema” (48). Jake Wilson, on the other hand, conjectures that Varda (while perhaps not fully realizing it) tapped into the cultural zeitgeist and constructed a film that “embodies a quasi-anarchist ethos” that is built on a “resistance to consumerism, a suspicion of authority, and a desire to reconnect politics with everyday life.”
Varda’s The Gleaners and I is notable in another regard, as well. Here, in a film about gleaning, Varda recognizes that she is, herself, a gleaner. “I'm not poor, I have enough to eat,” says Varda, but she points to “another kind of gleaning, which is artistic gleaning. You pick ideas, you pick images, you pick emotions from other people, and then you make it into a film” (Anderson 24). To collecte the objects of her gleaning, Varda chooses a digital video camera. In a number of scenes Varda shows and discusses the camera itself and in so doing transforms a film about waste into a reflexive meditation on the art of digital documentary. While Varda did not pioneer the reflexive documentary (that honor goes to Dziga Vertov and his 1929 masterpiece Man with a Movie Camera) (Chapman 114), Varda’s work has long been notable for its “reflexive and first-person tendencies” (Guest 46).
Another factor that makes The Gleaners and I especially noteworthy in the context of cinematic history is the fact that a filmmaker of Varda’s stature chose to abandon high-end film equipment for low-end digital video. For Varda, the decision was in many ways a practical one. As she notes in her interview with Melissa Anderson “I had the feeling that this is the camera that would bring me back to the early short films I made in 1957 and 1958. I felt free at that time. With the new digital camera, I felt I could film myself, get involved as a filmmaker” (24). Varda’s choice to make a camcorder a primary tool of production as well as a central element of her film, can be seen as an implicit (if not explicit) recognition of a new digital era in documentary filmmaking. Yet, for Varda, “the first-person, artisan film-making encouraged by digital video [was] nothing new” (Darke). While she acknowledges video’s convenience, she downplays any larger significants: "What's missing in all this talk of digital technologies is the understanding that ... they're not ends in themselves"(Darke). For Varda, digital cameras and editing equipment are simply tools that enable her to film by herself and to get closer to people "and to collapse the time lapse between wanting to film something and actually being able to do it" (Darke).