By Jackson Arn | December 14, 2016

If any single quality defines the paintings scattered throughout her films, it is their refusal to exist simply as beautiful objects, and their ability to allude to profound timelessness, lifelessness, and stillness.

By Emma Piper-Burket | December 5, 2016

Her continued relevance should come as no surprise as the realm of work that Varda has spent the past 60-plus years exploring—a multifaceted intersection between narrative and documentary—is becoming ever more in vogue.

By Genevieve Yue | November 30, 2016

“I was filming this postcard, and my camera went [to my hand], and I thought instead of saying my hands are old with spots, I said, it’s a beautiful landscape. And in a way, it’s a way of being a filmmaker that my own age becomes a landscape.”

By Ohad Landesman | November 28, 2016

Appreciated from a perspective of sixteen years, the film now seems to fit perfectly in the moment of its making, but still feels as fresh, original, and full of optimism as it used to be when it was first released.

By Nick Pinkerton | November 21, 2016

One Hundred and One Nights, all soft edges and winsomeness, is a nice little movie, maddeningly so. The cinema has written enough love letters to itself; it could use more anonymous threats, bricks through its window, and flaming turds on its porch.

By Michael Joshua Rowin | November 2, 2016

Jacquot de Nantes depicts the young Jacques Demy as both furiously precocious and fundamentally innocent, devouring the magic, myths, and mechanics of cinema.

By Matt Connolly | October 26, 2016

What drives her captivation with Julien? Based on a story suggested by Birkin herself, the screenplay by Varda offers a multitude of answers, each inchoate and interconnected.

By Mayukh Sen | October 21, 2016

Jane B. par Agnes V. is an elliptical film, and, like other Varda films (La Pointe Courte, Jacquot de Nantes), the line between the fictive and the real is deliberately porous.

By Justin Stewart | October 17, 2016

Though hearing about the death of a man from exposure to the elements provided Varda an initial spark, it soon turned into a story of the specific snares of a female vagabond experience, and by extension the female experience.

By Jordan Cronk | October 13, 2016

Adrift and alienated, yet invigorated by what she had discovered, Varda felt an immediate kinship with the underrepresented populace of Los Angeles. Channeling these conflicting feelings, Varda would produce a pair of features.

By Michael Koresky | October 4, 2016

One Sings may ultimately be gentle in its politics, but Varda could probably never make a truly mainstream film: her artistry is too exquisitely singular, too intrigued by moments out of time and the unspoken words between people that can only be expressed through abstraction.

By Julien Allen | October 3, 2016

Even in the context of a body of work that more or less exemplifies the concept of personal cinema, Daguerreotypes is as close to a self-portrait as you can get without being one.

By Eric Hynes | September 28, 2016

Lions Love is a staged documentary about a performance of events and ideas and attitudes that were very real to 1968. It could hardly matter less whether or not the film was good, or worked in any traditional sense.

By Max Nelson | September 25, 2016

The Creatures makes sense primarily as a kind of bitter, exaggerated parody. In its vision of male-female relations, it comes off as a grotesque embellishment of the French science-fiction movies it followed and a warning to the ones it preceded.

By Jeff Reichert | September 23, 2016

Varda makes one wonder about the ways in which platitudes can be both aimed at selfish ends and deeply felt all at once.

By Joanne Kouyoumjian | September 22, 2016

Though Varda already was a highly experienced photographer and thus no stranger to the art of image-making, her lack of cinephile knowledge at this early period in her life helps make La Pointe Courte not only authentically personal but also singular.

By Farihah Zaman | September 22, 2016

She is very charming, very vain, and very blonde. She is also a woman in a moment of internal crisis, awaiting a diagnosis from her doctor regarding the tumor in her belly.

By Michael Koresky, Jeff Reichert | September 22, 2016

In selecting the subject of our latest director symposium, we alighted upon a figure of constant surprise, of reinvention, of charm and oddity and intellectual freedom. She is one of the most thrillingly alive filmmakers working today, and she is 88.