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Among the more memorable of the filmmaker’s on-screen figures is the nude, “pregnant up to her ears” Catherine, who laughing and swaying insists, “I feel beautiful, full and desirable.” While she adds that she doesn’t “care about society,” in responding to an off-screen male voice that suggests that it is the woman’s responsibility to build the human race, other representatives of her sex disagree, both embracing this role in full in one instance, and denying that motherhood has any bearing on womanhood in another.

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Focusing on the theme “our body, our sex,” Varda presents a series of women, across a spectrum of ages, physical appearances and with and (controversially, given the time of day that it would screen) without clothing, as they all consider the nature of womanhood.

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Women Reply / Réponse de femmes: Notre corps, notre sexe (Agnès Varda, 1975, France, 8 minutes, DVD)Ĭommissioned by French television as one of seven seven-minute shorts to be made by female filmmakers after UNESCO declared 1975 “international women’s year,” Agnès Varda takes eight minutes to consider eight subjects related to the larger question of what it means to be a woman. On the other hand, with regard to Daguerréotypes’ durational interest, as well as in its cartographic emphasis, the concerns of Varda’s documentary feature echo those of her fictional, ‘real-time’ masterpiece, Cleo from 5 to 7 (1962). Daguerréotypes (Agnès Varda, 1976, France/West Germany, 75 minutes, DVD)Ĭonceived by the ‘Left Bank’-group auteur as a portrait of her 14th arrondissement Rue Daguerre neighbors, Daguerréotypes captures the quotidian daily routines of a population that Agnès Varda later described as “a sort of silent and conservative majority that expressed the end of a certain France in the 1950s, of the small neighborhood shops where most people worked in pairs.” Daguerréotypes however does manage to inscribe this anachronistic mode of Parisian life in the elderly proprietors of the Blue Thistle perfumery, whom Varda confesses were the initial inspiration for a film that ultimately satisfied her desire to “go through the shop windows of the street, to watch the tradesmen and experience the long periods of waiting as time passes.” In thus fixing foremost on the small-scale, trade and craft labors of her Montparnasse neighbors – when she is not presenting the community as they join together for an itinerant magician’s performance or quizzing her on-camera subjects about their rural, mostly western origins or how they met their respective spouses – Varda pursues an artisanal interest that parallels her own craft-like filmmaking strategies.