431:, "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.” 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 nothing new.” While she acknowledged video's convenience, she downplayed any larger significance: "What's missing in all this talk of digital technologies is the understanding that they're not ends in themselves." For Varda, digital cameras and editing equipment were simply tools that enabled her to film by herself and get closer to people "and to collapse the time lapse between wanting to film something and actually being able to do it."
403:"is due in considerable part to Agnès Varda’s own presence." Guest argues that the ease with which Varda blends documentary and narrative technique is a key reason 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". (p. 48) Jake Wilson, on the other hand, conjectures that Varda, perhaps not fully realizing it, tapped into the cultural zeitgeist and constructed a film that "embodies a quasi-anarchist ethos" built on a "resistance to consumerism, a suspicion of authority, and a desire to reconnect politics with everyday life."
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I often talk about." As such, she said the objects she found, such as the heart-shaped potato, were " of luck", as were some of the shots. For example, in one scene, Varda forgot to turn off her camera, so, as the camera hung at her side, it filmed the shifting ground and the dangling lens cap. Varda chose to put this footage in the finished film with a jazz music background, calling it "The Dance of the Lens Cap".
222:, who explains that junk is a "cluster of possibilities"; lawyers who discuss the French laws regarding gleaning versus abandoned property; and an urban gleaner named Alain, who has a master's degree and teaches French to immigrants. Two of the most notable symbols from the film are the numerous heart-shaped potatoes Varda finds in a field and a clock without hands she finds on the street.
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other people, and then you make it into a film." To do her gleaning, Varda chose to use a digital video camera, and there are several scenes in which she shows and discusses the camera itself. In so doing, she 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
29:
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and for its unusual camera angles and techniques. Varda referred to her filmmaking process as "cinécriture" ("cinema-writing"), saying that the process of encountering subjects, choosing shots and music, editing, and writing narration is "all chance working with me, all this is the film writing that
225:
In order to find the subjects, Varda claimed her method was to ask all the people she knew to talk to everyone—"the peasants, the owners, the farmers, the fruit growers—about our film. I said to my assistant, 'Call everybody you know.'" Referring to these subjects, Varda stated that "The more I met
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One notable aspect of the film is that, in making a film about gleaning, Varda recognized that she, too, was a gleaner. "I'm not poor, I have enough to eat," she said, but she pointed to "another kind of gleaning, which is artistic gleaning. You pick ideas, you pick images, you pick emotions from
253:
also includes more self-referential footage, such as a scene in which Varda films herself combing her newly discovered gray hair, or the several closeups of her aging hands. In one scene, she "catches" numerous trucks on the freeway, first encircling each truck by putting her hand in front of the
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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 noted in an interview with
Melissa Anderson for
282:. In the press kit, Varda wrote that she and her team would travel and shoot for roughly two weeks at a time and immediately proceed to edit while scouting for additional locations. She also traveled alone to get many of her "gleaned" shots and would go to markets between 2 and 4 p.m.
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who, whether due to necessity or for artistic or ethical reasons, gather crops left in the field after the harvest or food and objects that have been thrown out. She also included some of the people on the peripheries of the gleaning culture. There are interviews with, among others, a
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347:, hailed the film as "one of Varda's most powerful and popular films." (p. 47) Even Varda, herself, remarked at the film's success, saying: "I've never in my entire career felt that people have loved a film of mine as much as this one.”
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Portuges, Catherine. "The
Gleaners and I." American Historical Review 106.1 2001. 305. Web. 17 Nov 2010. History Cooperative Complete. Retrieved at American University.
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In Paris, the film attracted 43,000 movie-goers during "the first nine weeks of its summer release." In some places, it was in theaters for over eight months.
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Varda produced the film under Cine-Tamaris, a company she founded in 1954 and that had produced most of her previous films. It was distributed by
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argued that "Varda's subject matter is surprisingly rich, but it's her own energetic, curious nature that gives the film its snap." In the
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them, the more I could see I had nothing to make as a statement. They make the statement; they explain the subject better than anybody."
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Anderson, M., and A. Varda. "The Modest
Gesture of the Filmmaker - an Interview with Agnes Varda." CINEASTE 26.4 (2001): 24-7.
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Guest, Haden. "Emotion
Picture: Agnes Varda's Self-Reflexive the Beaches of Agnes and the Cinema of Generosity."
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Wilson, Jake. "Trash And
Treasure: The Gleaners And I." Senses of Cinema 23 (2002): n. pag. Web. 12 Nov 2010.
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2-star chef who gleans and a wealthy restaurant owner whose ancestors were gleaners; the owners of a few
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Anderson, M., and A. Varda. "The Modest
Gesture of the Filmmaker - an Interview with Agnes Varda."
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Ebert, Roger. "The
Gleaners and I." rogerebert.com. rogerebert.com, 11 May 2001. Web. 20 Nov 2010.
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575:"Aesthetics of Waste in Agnés Varda's 'Les Glaneurs et la glaneuse' (The Gleaners and I) (2000)"
417:), her work had long been notable for its "reflexive and first-person tendencies." (p. 44)
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814:"Official Selection 2000." Festival de Cannes. Festival de Cannes, n.d. Web. 20 Nov 2010.
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138:("Official Selection 2000"), and later went on to win awards around the world. In a 2014
312:("Official Selection 2000"). Later that year, it had its North American premiere at the
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the eighth best documentary film of all time. In 2016, the film appeared at No. 99 on
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241:(specifically a Sony TRV900 Mini DV Camcorder.) The film is notable for its use of a
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Darke, Chris. "Refuseniks (Agnes Varda's DV Documentary, the 'Gleaners and I')."
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Darke, Chris. "Refuseniks (Agnes Varda's DV Documentary, the 'Gleaners and I')."
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Recsk 1950-1953: The Story Of A Secret
Concentration Camp In Communist Hungary
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324:. Peter Rainer dubbed the film "lyrically ramshackle". Edward Guthmann of the
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156:. The film was included for the first time in 2022 on the critics' poll of
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817:"Press Kit." ZeitgeistFilms.com. Zeitgeist Films. n. d. Web. 12 Nov 2010.
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in New York, a company that has distributed films from such directors as
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camera lens and then closing her hand as she drives past "just to play."
218:; artists that incorporate recycled materials into their work, including
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175:), in which she revisited some of the people and themes of this film.
811:"The Gleaners and I." IMDbPro. Amazon.com, Inc, n.d. Web. 6 Nov 2010.
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Los
Angeles Film Critics Association Award for Best Documentary Film
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The film won awards around the world, including top honors at the
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National
Society of Film Critics Award for Best Non-Fiction Film
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122:, lit. "The gleaners and the female gleaner") is a 2000 French
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Boston Society of Film Critics Award for Best Documentary Film
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316:. It was acclaimed by critics, achieving a score of 83/100 on
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The film was filmed between September 1999 and April 2000 in
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New York Film Critics Circle Award for Best Non-Fiction Film
1972:
It's All True: Based on an Unfinished Film by Orson Welles
160:'s list of the greatest films of all time, at number 67.
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Reviews and information from the Rotten Tomatoes website
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For the film, Varda traveled throughout rural and urban
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1922:Hotel Terminus: The Life and Times of Klaus Barbie
154:list of the 100 greatest films of the 21st century
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249:In addition to footage relating to "gleaning",
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173:Les Glaneurs et la glaneuse... deux ans après
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1214:Charleen or How Long Has This Been Going On?
757:Rich, B. Ruby. "Gleaners Over Gladiators."
713:Rich, B. Ruby. "Gleaners Over Gladiators."
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1760:The Sound of Insects – Records of a Mummy
670:"The Gleaners and I Reviews: Top Critics"
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573:Pagliari, Valentina (February 23, 2021).
1606:European Film Award for Best Documentary
787:. p. 144 Cambridge: Polity, 2009. Print.
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134:. It screened out of competition at the
504:"The 21st Century's 100 Greatest Films"
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399:Ruby Rich believes that the appeal of
1717:S-21: The Khmer Rouge Killing Machine
549:"The Modest Gesture of the Filmmaker"
163:In 2002, Varda released a follow-up,
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3235:European Film Awards winners (films)
2964:The Life and Times of Hank Greenberg
2491:The Life and Times of Hank Greenberg
1352:Hands on a Hardbody: The Documentary
381:Los Angeles Film Critics Association
1666:Vendetta - Blood Revenge in Albania
1048:The Gleaners and I: Two Years Later
479:"Silent film tops documentary poll"
357:Chicago International Film Festival
314:Toronto International Film Festival
165:The Gleaners and I: Two Years Later
785:Issues in Contemporary Documentary
385:French Syndicate of Cinema Critics
308:debuted out of competition at the
14:
2984:Standing in the Shadows of Motown
2511:Standing in the Shadows of Motown
3190:All the Beauty and the Bloodshed
2921:Fast, Cheap & Out of Control
2715:All the Beauty and the Bloodshed
2461:Fast, Cheap & Out of Control
2268:All the Beauty and the Bloodshed
1553:All the Beauty and the Bloodshed
1336:Fast, Cheap & Out of Control
369:National Society of Film Critics
237:was Varda's first film to use a
130:that features various kinds of
3200:Menus-Plaisirs – Les Troisgros
2724:Menus-Plaisirs – Les Troisgros
2278:Menus-Plaisirs – Les Troisgros
623:"The Gleaners & I Reviews"
377:Boston Society of Film Critics
1:
3255:Films directed by Agnès Varda
320:and a 92% approval rating on
187:to document various types of
1387:The Kid Stays in the Picture
933:One Sings, the Other Doesn't
373:New York Film Critics Circle
3250:2000s French-language films
1747:Paper Cannot Wrap Up Embers
645:"The Gleaners and I (2001)"
524:"The Gleaners and I (2000)"
389:Online Film Critics Society
120:Les glaneurs et la glaneuse
3276:
1064:Some Widows of Noirmoutier
981:One Hundred and One Nights
547:Anderson, Melissa (2001).
420:Another factor that makes
207:and the great-grandson of
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1827:Bergman: A Year in a Life
1672:Gigi, Monica... et Bianca
1613:
1521:Won't You Be My Neighbor?
1165:
1107:Diary of a Pregnant Woman
1032:The World of Jacques Demy
717:272.14 (2001): 33. Print.
701:11.1 (2001): 30-3. Print.
411:and his 1929 masterpiece
310:2000 Cannes Film Festival
144:poll, film critics voted
136:2000 Cannes Film Festival
26:
3245:French documentary films
3080:Cave of Forgotten Dreams
2801:The Times of Harvey Milk
2601:Cave of Forgotten Dreams
2158:Cave of Forgotten Dreams
1513:Dawson City: Frozen Time
1244:The Times of Harvey Milk
2994:Capturing the Friedmans
2954:Buena Vista Social Club
2481:Buena Vista Social Club
2391:Berkeley in the Sixties
2032:Buena Vista Social Club
1767:Nostalgia for the Light
1685:Buena Vista Social Club
1561:Geographies of Solitude
1473:How to Survive a Plague
1395:Capturing the Friedmans
1024:The Young Girls Turn 25
461:, inspired by the film.
414:Man with a Movie Camera
361:One World Film Festival
327:San Francisco Chronicle
301:Release & reception
3240:2000 documentary films
1865:Smoke Sauna Sisterhood
1796:Master of the Universe
1732:The Pipeline Next Door
1360:The Eyes of Tammy Faye
395:Cinematic significance
343:, the director of the
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64:July 7, 2000
3130:O.J.: Made in America
3090:The Central Park Five
2944:The Farm: Angola, USA
2933:Best Non-Fiction Film
2655:O.J.: Made in America
2551:An Inconvenient Truth
2471:The Farm: Angola, USA
2102:An Inconvenient Truth
2022:The Farm: Angola, USA
1505:O.J.: Made in America
1328:Anne Frank Remembered
278:, and the suburbs of
3060:Of Time and the City
3030:Deliver Us from Evil
2794:No Award (1981–1983)
2581:The Beaches of Agnès
2132:The Beaches of Agnès
1419:Deliver Us from Evil
1072:The Beaches of Agnès
965:Jane B. for Agnes V.
447:Jean-François Millet
365:European Film Awards
345:Harvard Film Archive
2208:I Am Not Your Negro
1678:Tableau avec chutes
735:45.4 (2009). Print.
216:Étienne-Jules Marey
51:François Wertheimer
3260:2000s French films
3120:In Jackson Heights
2974:The Gleaners and I
2911:When We Were Kings
2836:The Thin Blue Line
2621:The Act of Killing
2501:The Gleaners and I
2451:When We Were Kings
2371:The Thin Blue Line
2082:Born into Brothels
2052:The Gleaners and I
2002:When We Were Kings
1789:The Act of Killing
1739:Into Great Silence
1725:Darwin's Nightmare
1693:The Gleaners and I
1654:Angels of Sarajevo
1648:Misfits To Yuppies
1642:Earth of the Blind
1481:The Act of Killing
1425:Shut Up & Sing
1379:The Gleaners and I
1274:The Thin Blue Line
1236:Say Amen, Somebody
1159:The Gleaners and I
1040:The Gleaners and I
832:The Gleaners and I
774:26.4 (2001): 24-7.
761:272.14 (2001): 33.
748:11.1 (2001): 30-3.
449:completed in 1857.
422:The Gleaners and I
401:The Gleaners and I
306:The Gleaners and I
213:chronophotographer
146:The Gleaners and I
111:The Gleaners and I
22:The Gleaners and I
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973:Jacquot de Nantes
672:. Rotten Tomatoes
647:. Rotten Tomatoes
512:. 23 August 2016.
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291:Christopher Nolan
200:, among whom are
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3110:Citizenfour
3050:Man on Wire
3014:Grizzly Man
2891:Hoop Dreams
2635:Citizenfour
2626:At Berkeley
2571:Man on Wire
2541:Grizzly Man
2431:Hoop Dreams
2188:Citizenfour
2122:Man on Wire
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1982:Hoop Dreams
1811:Fire at Sea
1660:Viva Stalin
1635:Hear My Cry
1489:Citizenfour
1465:Project Nim
1441:Man on Wire
1344:The Big One
1312:Hoop Dreams
1157:Awards for
1131:Uncle Yanco
1099:Short films
941:Documenteur
878:Agnès Varda
676:February 2,
651:February 2,
629:February 2,
341:Haden Guest
128:Agnès Varda
40:Agnès Varda
36:Directed by
3230:2000 films
3224:Categories
3070:Inside Job
2591:Inside Job
1843:Collective
1537:Collective
1433:Crazy Love
1411:Murderball
925:Lions Love
909:Le Bonheur
759:The Nation
715:The Nation
533:2022-12-01
466:References
318:Metacritic
258:Production
220:Louis Pons
85:82 minutes
68:2000-07-07
3160:Honeyland
2777:1980–1997
2685:Honeyland
2531:Tarnation
2042:Dark Days
1819:Communion
1529:Honeyland
1457:Marwencol
1206:1980–2000
584:April 28,
579:mxdwn.com
359:, Prague
230:Technique
198:vineyards
98:Languages
2786:Best Boy
2228:Shirkers
2138:The Cove
1835:For Sama
1449:The Cove
1016:Mur Murs
949:Vagabond
772:CINEASTE
556:Cineaste
488:1 August
483:BBC News
435:See also
428:Cinéaste
276:Pyrenees
272:Provence
251:Gleaners
235:Gleaners
194:Michelin
189:gleaners
132:gleaning
46:Starring
2821:Marlene
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1221:Diaries
371:(USA),
103:English
90:Country
66: (
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387:, and
363:, and
351:Awards
274:, the
264:Beauce
185:France
169:French
116:French
101:French
93:France
2901:Crumb
2811:Shoah
2441:Crumb
2346:Shoah
1992:Crumb
1320:Crumb
1252:Shoah
803:Notes
562:: 25.
552:(PDF)
280:Paris
3180:Flee
3170:Time
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2248:Time
1851:Flee
1775:Pina
1754:René
837:IMDb
678:2017
653:2017
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586:2021
490:2014
293:and
268:Jura
211:and
2645:Amy
2198:Amy
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835:at
528:BFI
509:BBC
152:'s
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126:by
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