So for those confused, some level of context on their relationship and the French language could help clear it up. Basically, Agnes Varda and her husband were friends with Jean-Luc Goddard, when Agnes' husband died, Jean-Luc left a pretentious note which was just the name of the restaurant where they used to eat. Agnes didn't appreciate that and there was a rift between them because she wanted to him to leave a note/say something more than just that, she was offended by his simplistic response and Goddard knew this. As a result, when Agnes went to see him he left her the same note she got upset about and refused to see her as a joke/to be petty. The fact that he left the same note there signifies that they talked and he was expecting her to come, but refused to let her in because he was still pissy about the rift because of the note and decided to be petty by saying it again even though it hurt Agnes because it wasn't enough and caused the rift.
@@fareeha5467 Basically, he agreed to meet her for the filming and when she arrived, no luck, because he had chickened out, leaving a bit of a cruel note instead. He was not a nice old man.
I like a lot of Godard's movies but the way he treated Varda here shows what a pretentious twat he is. I have come to admire Varda and her works over the years particularly that documentary on the gleaners. Her humanity and humor always shine through.
@@kencur9690 He AGREED to be in the documentary. He and Agnes Varda already talked about it before she came over. Then when she got there, he didn't let her in and basically disrespected her, his friend, out of spite, because of some old grudge that was his fault in the first place. Look up what Godard had to say when Agnes Varda's husband (who was also his friend!) died. Godard: great filmmaker, pretentious douchebag
@@aliceramenhead and then he clearly DISAGREED with it, as he is free to do. People can change their mind, and it seems he was wise enough to change his. I can’t know the full story (and neither can you) so I am not going to take sides. Perhaps there was spite, I am not excluding it, but going with a camera is still distasteful so I can understand that. In the end it’s his life, his choice.
@@violinsinthevoid4579 this is reminding me of lewis spears doing standup about prince phillip being an old dog who was bound to die, and then was informed that prince phillip had just died moments before
I mean, he might be an asshole but what he did here was neither boring or cliched. I do love Herzog's quote about his films: "Someone like Jean-Luc Godard is for me intellectual counterfeit money when compared to a good kung fu film, a Fred Astaire picture, or a porno."
Years later, I had the opportunity to talk at length about this mysterious scene with Rosalie Varda, Agnès' daughter and producer of her latest films, including Visages, villages. In the course of our dialogue, she gave me to understand that the production team already knew that Godard would not appear, that he had left them standing, but they did not tell Agnès. When they turned on the cameras, she was convinced Godard would be there. It wasn't an easy decision to make, but they wanted to capture his natural reaction, which was to call him a "rat.""[Jean-Luc] sent me a kind of photo collage of Agnés [after her death]," said Rosalie Varda, who produced Visages, villages. "It was something very special. It's a secret. But he sent me something very beautiful. I think he cared a lot about Agnès. He saw all her films." Interview with Rosalie Varda after her mother's passing, Indiewire, 2019. Rosalie talked about it with her mother several times afterwards because she had very mixed feelings about the scene, but ultimately decided to leave it in the final cut. Agnès, who died almost two years after filming, came to understand what her old friend did, or at least thought he had done: "I really think it was a very generous act on his part. And that's what my mother came to understand. Jean-Luc knew that if he appeared in the last sequence of the film, he would steal the entire film. It would no longer be my mother's last film, but Godard's last appearance." Jean-Luc Godard's obituary line by Carlos Reviriego, El Español,
@@veagacastro3045 It had the EXACT effect that he assumed it would. The majority of people that know of Visages, villages/Faces Places is because of this Godard scene. I honestly think it's rather deceptive to leave this scene in without a disclaimer in the end or to leave it in, period.
Everyone who is cursing Godard for this scene just missed the point of it. And Agnes agrees with me... So, a little bit of context: "Years later, I had the opportunity to talk at length about this mysterious scene with Rosalie Varda, Agnès' daughter and producer of her latest films, including Visages, villages. In the course of our dialogue, she gave me to understand that the production team already knew that Godard would not appear, that he had left them standing, but they did not tell Agnès. When they turned on the cameras, she was convinced Godard would be there. It wasn't an easy decision to make, but they wanted to capture his natural reaction, which was to call him a "rat." "[Jean-Luc] sent me a kind of photo collage of Agnés [after her death]," said Rosalie Varda, who produced Visages, villages. "It was something very special. It's a secret. But he sent me something very beautiful. I think he cared a lot about Agnès. He saw all her films." Interview with Rosalie Varda after her mother's passing, Indiewire, 2019. So, Godard still being a asshole? Well, we have this too... "Rosalie talked about it with her mother several times afterwards because she had very mixed feelings about the scene, but ultimately decided to leave it in the final cut. Agnès, who died almost two years after filming, came to understand what her old friend did, or at least thought he had done: 'I really think it was a very generous act on his part. And that's what my mother came to understand. Jean-Luc knew that if he appeared in the last sequence of the film, he would steal the entire film. It would no longer be my mother's last film, but Godard's last appearance'." Jean-Luc Godard's obituary line by Carlos Reviriego, El Español, People have to understand: documentaries is not life, its cinema. And cinema= lies.
I guess what weirds me out is his cold reference to her dead husband. He didn't just "not show up", he also left a hurtful message for her to see when she got there
I love the interpretation Agnes brought to this scene. She saw Jean Lucs message as him participating in the film. She took it as him playing his part in the story of this film.
I'm just happy JR was there with her. It was very touching to see him rubbing her shoulder like that. The dynamic between them through the whole film is so sweet.
JR knew that Godard wouldnt make a apearence. All the crew knew. They used varda's emotions... Years later, I had the opportunity to talk at length about this mysterious scene with Rosalie Varda, Agnès' daughter and producer of her latest films, including Visages, villages. In the course of our dialogue, she gave me to understand that the production team already knew that Godard would not appear, that he had left them standing, but they did not tell Agnès. When they turned on the cameras, she was convinced Godard would be there. It wasn't an easy decision to make, but they wanted to capture his natural reaction, which was to call him a "rat.""[Jean-Luc] sent me a kind of photo collage of Agnés [after her death]," said Rosalie Varda, who produced Visages, villages. "It was something very special. It's a secret. But he sent me something very beautiful. I think he cared a lot about Agnès. He saw all her films." Interview with Rosalie Varda after her mother's passing, Indiewire, 2019.
Godard left a personal message to Varda, and only she can think something of it (to blame him, or not). Our society produces arrogant voyeurists, compared to whom Godard is a monster of humility.
Years later, I had the opportunity to talk at length about this mysterious scene with Rosalie Varda, Agnès' daughter and producer of her latest films, including Visages, villages. In the course of our dialogue, she gave me to understand that the production team already knew that Godard would not appear, that he had left them standing, but they did not tell Agnès. When they turned on the cameras, she was convinced Godard would be there. It wasn't an easy decision to make, but they wanted to capture his natural reaction, which was to call him a "rat.""[Jean-Luc] sent me a kind of photo collage of Agnés [after her death]," said Rosalie Varda, who produced Visages, villages. "It was something very special. It's a secret. But he sent me something very beautiful. I think he cared a lot about Agnès. He saw all her films." Interview with Rosalie Varda after her mother's passing, Indiewire, 2019.
@@veagacastro3045 JR (the co-director of this film) said the same thing. He tells Agnes that he felt Godard not showing up made the film better, and he was right. I think Agnes realized that, too, even though her feelings were still hurt.
He lost the opportunity to see his former friend Agnès Varda for the last time. She died shortly after. They had known each other since the late 1950s. (J'espère que la traduction est correcte, je ne parle pas bien anglais).
The impostors here are all those commentators who give their opinion on a personal story of friendship and estrangement. It is not because JR and Varda had the bad taste to film this episode that everyone can become a specialist in Godard's character & behaviour. Godard left a personal message to Varda, and only she can think something of it (to blame him, or not). Our society produces arrogant voyeurists, compared to whom Godard is a monster of humility.
Why didn't they just continue filming it to see what happens when he comes out? That would have been 'Jean-Luc from 5 to 7' or whatever the timeframe was!
I feel bad for Varda here :( she’s a sweet lady. Godard is a piece of shit but one of the greatest and most innovative filmmakers. Varda is one of the greats as well.
@@lukess.s The real question is, did anybldy ask whether or not someone asked him? And another question, who could have asked him? Youre the second reply
When Agnes' husband Jacques died he wrote a specific message, "A la ville de Douarnenez", a restaurant that Jacques, Agnes, and JL all ate at frequently. That's all he wrote, not sorry for your loss, not a long epitaph, just that. Knowing they were showing up, he wrote the same message on the door to be a petty asshole.
Esse doc é fantástico. Me fez querer conhecer muito mais o trabalho de Varda e atualmente, é minha documentarista favorita. Realmente godard foi muito infeliz nesse tratamento a ela. De todo modo... Viva, Varda!
Pior que nem é culpa dele. A produção já sabia que ele não iria aparecer, pois ele havia negado a aparição no documentário. No entanto eles não avisaram pra Varda porque eles queriam usar a situação para tirar uma reação dela. A crueldade na real tá mais na produção do que na ação do Godard, inclusive a Varda reconheceu isso anos depois e entendeu o que realmente aconteceu. Inclusive, li isso um dia desses: Rosalie talked about it with her mother several times afterwards because she had very mixed feelings about the scene, but ultimately decided to leave it in the final cut. Agnès, who died almost two years after filming, came to understand what her old friend did, or at least thought he had done: "I really think it was a very generous act on his part. And that's what my mother came to understand. Jean-Luc knew that if he appeared in the last sequence of the film, he would steal the entire film. It would no longer be my mother's last film, but Godard's last appearance." Jean-Luc Godard's obituary line by Carlos Reviriego, El Español,
Godard has his moments, but you can definitely sense his misanthropic tendencies through all his movies. He wants his characters to die or live sad, meaningless lives. And some of his stuff hasn't even aged well or isn't that deep anymore. Varda made documentaries on the marginalized and important leaders (ie Black Panthers), films that brought meaning in sadness and had a unique female gaze in a male dominated movement. I saw her at an event shortly before she passed away, she was so humble. Her talent will live on ❤️
@@lucieblaise8793 No, so I'm not going to put words in his mouth, stand on his shoulders, and tell everybody here in the comment section what he wanted like you just did, poser.
Are we sure he was trying to hurt her? So the three of them used to eat (and probably enjoy a friendship) there at this "Ville de Douarnenez" restaurant. Godard writes “to the Ville De Douarnenez” when Jacques dies. Was that to hurt? For me it's like trying to evoke those past memories of their friendship. And then he writes now again on the glass to remind her of the importance of their friendship to him, despite perhaps not being able or not predisposed for whatever reason to see her. Or maybe he wasn't willing to see her after too long through the excuse of a camera and a film and felt a bit offended by that. Why are we so sure he was trying to hurt her?
I don't see anything offensive about the message. Also, someone showed up with a camera crew and he doesn't have a right to not want to be filmed? This was blown way out of proportion.
I hope so too, but it must have been a bit later if so. When she was promoting the film after its release Varda was asked if JLG had seen the film, and she said she had sent him a copy but never received a reply.
Godard commited a rational suicide, no one knew godard, how can you blame him? maybe Agnes knew something, and i think really, that is the reason why she was sad, she think, maybe after all those years, they could have a talk, but godard was dead, and how could you talk to a grave?
Very sad. But there is a detail: Varda wasn't visiting him as a friend. She was visiting as a filmmaker. As gross as he was, it may be more complex than it appears to be.
Knowing Varda from his movies and how she treats people, I don't think she just went to see him as a filmmaker, but as a friend. If Godard had asked him to turn off everything or delete that part, I'm sure she would have done it, because Varda always cared about people, in the end they were the center of his cinema. I find no excuse to do something like that to someone who, as far as we know, were friends.
@@matiasescalante7752 Knowing how Godard reacted to Truffaut after Day for Night (how offended he can become, how hurt he was, etc.) I would’ve communicated better with Godard if I was his friend and wanted to pull up on him like this. Who knows his side of the story-i just think it’s too harsh to judge Godard without knowing exactly his reasons.
The message Godard left, "à la ville de Douarnenez du côté de la côte," roughly translates to "in the city of Douarnenez by the coast." Agnès Varda explains that that's where she, her now-deceased husband Jacques Demy and Godard used to eat. She also says that the phrase "du côté la côte" is the title of one of her films (1958). There's nothing outwardly pretentious, rude or insulting, but obviously it must have some special meaning that only she, her husband and Godard would know. Agnès Varda went to Godard's house with a camera crew to film him for her documentary. She claims that it had been prearranged and Godard stood her up, but that's her word. Godard was known for being a recluse, particularly in his later years when the only person who really knew him was his partner of 40 years Anne-Maire Miéville. I really doubt that Godard would've agreed to an impromptu interview on the street like we see here. If nothing else, he was an extremely private person. The question is why is Agnès Varda so broken up about the cryptic message when all it says is the name of a city and a reference to one of her own films? To me the message almost sounds sentimentally endearing. If an ex-friend of mine simply left a note saying "the Dunkin Donuts after school" I would feel nostalgic. Maybe in his own hermitical way, this was Godard's way of saying those were the best times and there's nothing more to be said. That would be his style. But one way or another, there's nothing explicitly rude about the note and wanting a little privacy from the cameras. As we would learn a few years later, after Godard's suicide, he was completely exhausted.
So, for some context; Godard had already told the team who helped Varda for the film that he didn't want to appear on the movie (and the reason, even, was somewhat of justified: he thought that by appearing right through the end of it, it would make it a little less Varda, and he would be the focus, which he did consider unfair). The crew, then, decided to not tell Varda about it, wishing to capture her "authentic" expression about it. Godard did never wish to be cruel or attack Varda by any means, and if there's fault to somenone, it relies on the crew who decided to not tell a 89 years old woman and make her suffer in front of the camera just because they wished for "authenticity"
I remember at the Curzon Mayfair in London for the Faces Places Q&A. One person asked Varda about Godard and she said *SCREW HIM* and JR had his view that Godard hated being nostalgic.
Contexts are important. JLG and Varda had been friends for over 60 years at this point. Everyone who knows JLG knows that he has, for his entire life, communicated aphoristically and, here, to Varda, cryptically, yet with a great deal of particularity to and for her. Notice that Varda has zero difficulty interpreting what Godard had conveyed. The reference to the restaurant “could” be a complex of emotions, positions, memories, the constellation of their friendship precisely etched on that glass. However, at the same time, Varda and her friend are clearly making a doc [from which this clip was pulled] and therefore trying to compel JLG take part in it. He doesn’t owe that to her or anyone, just as no viewer owes it to be a part of someone else’s enterprise if they choose to decline. Varda knows this and she is playing for the camera. She didn’t have to include this footage. One has to ask, Why, then, did she and co-director choose to use it? Her personal friendship with Godard could have been conducted on the phone or, perhaps, privately in person, off camera. Varda went out not only to buy a brioche but a permanent marker. In this context, for 5 Euros Varda had a scene.
Not quite: Godard agreed to meet up with her then stood her up. I think it's worth remembering that in the 1970s he offended Francois Truffaut with a similarly cryptic message... then after Truffaut died, said he regretted their rift and paid tribute to his old friend... then, with Varda, he made the same mistake all over again. Keeping journalists at arm's length with aphorisms and cryptic utterances (to maintain your privacy, or perpetuate a mystique around yourself, or whatever) is one thing, but doing it with your oldest friends is another.
@@drparnassus2867 All that is clear is that Godard expected her arrival, hence the prepared message - yet, meet with her, not necessarily her camera. That’s the point here. Truffaut doesn’t belong to this discussion. Conflation aside, Godard, who’s not only active but vigorous at 91 in Rolle, remains averse to human commodification - recall that across all periods of his work, prostitution is a primary motif - and this could not have been lost on Varda. Point still stands: she was trying to capitalize on their friendship. Even in his absence, she did. The scene is disingenuous and its existence is curious.
If he didn't want to be on camera, he could have done an adult thing and tell her that over a telephone, e-mail or through any form of correspondence. But no pretentious loser made her travel from France to Switzerland only to leave her with a six word note on a glass window ...
Minor effort may reveal a more nuanced grasp of the scene and its parts. My initial post addresses your assumptions. Primary is the guided, implicit assumption that Varda is not a manipulator in the scene she constructed. How odd. Consider how films are built. Fallacies such as ad hominem attacks, like the video’s title and your repetition of it here, are designed to precondition perception. Hence, the animus in all these responses correspondingly follows in step with AV’s message of being a victim of JLG’s mistreatment instead of inviting greater scrutiny. Why is this problematic?
What’s funny is that Varda admitted later that she liked that this happened because she thought this made this film better. Godard is not the one to give you the convenient thing that you want, no matter how rude it may be.
"a la ville de douarnenez" means "the meeting in Samarra" ! Varda and her camera and her mise en scène ... I love the ashtray on the window sill ^^ how to say f**off or I will never forget you and Jacques with amu-zing grace. sacré Jean Luc.
To be fair, and Agnès said so a couple years later, it made for a better movie that Jean-Luc acted like such an asshole here. Dramatically his actions spawned a very emotional scene, even if it hurts as heck seeing the sweet treasure Agnès Varda being hurt to tears. 😢 So since Varda's documentary film became stronger, one could argue that she had the last laugh. She went on to reveive an Oscar nomination for best documentary for this. Godard never received an Oscar nomination, although both him and Agnès were honored with a Lifetime Achievement Oscars.
Lmao no it isn't. Just accept that some people are shitty people and deal with the fact that they can also have creativity and that moves people. If you don't think that their talent excuses their behaviour, then just don't excuse it. Not that complicated.
@@Afriboy10 thats what bruno's saying, jerks can be talented, just seperate the person, who is a jerk, from the art, which is good, just happens to be made by a jerk. at least a jerk by the public's usually warped standards and view of the artist.
@@themediahideout8221 This is the opposite of what I am saying. He (and you apparently) want to see Godard 'the genius' or whatever, without recognising that this same adulation for his brilliance must also deal with the fact that he is aloof and pretentious. This is not "oh the public has warped standards" - Godard "the artist" and Godard "the jerk" as you put it are the same person.
i’m trying to imagine an alternative to this, like JLG inviting them in and there being loads of laughs and tears and hugs. i thought that seemed like it would never happen but i guess it could’ve done
it’s going a bit far to call JLG names though. lots of old ppl dont wanna be on camera. maybe he had diarrhoea that day or has early dementia. point is not to go too far in criticising ppl who are absent
Varda>>> Godard I just think he’s just a sexist pretentious film bro, Varda is the real deal, human, empathic and cheerful with a real perspective on human emotions and their stories
They went to Godard's house with a camera, knowing he is avoiding for years any media feature. They are not respecting his privacy, he is an old man and has his own right to decide who and when he might let in. He still left a message with some poetic memories, which was totally unappreciated, and it's quite interesting they had a sharpie ready to reply... who doesn't have in ready in the bag, in case you might have to write on glass?
He had actually agreed to speak with them, and he had also changed the original meeting time and place so that they had to sleep in the town. Varda also said she had brought her children with her for this specific meeting (not seen on camera) - though I will say that Godard's actions certainly elevated the film.
@@Kraisedion thanks for the background story. Maybe he had a second guess... he wanted to be remembered as he was. He even refused to go receive the Oscar for his career! Unpredictable, still genius AND person who deserves some respect.
Just to clarify, it's not a sharpie or even a permanent marker. It's a very common felt tip pen here in France and she probably used it for autographs or to take notes
I don't see anything mean and pretentious in the initial note when Demy passed! JLG shared basically "an image with words", a moment/souvenir of the trio in the restaurant. He was an artist creating images, why Agnes Varda found it pretentious?!
This is hilarious...I treat my dear ones like that sometimes...when they look at words as the only proof of a relationship...and not the person...as if I am obliged to be their best friend and take care of them...as if they are weak...and I am brave...I am weak too...just like them...
Why would anyone want to earn the right to be a loser lol what a silly thing to say that’s not a thing to aspire to and any level of success doesn’t allow someone to be a dick
@@sewagedump I really do wonder why you care so much? I've seen you a lot in this comment section and you seem really irritated on people not liking godard.
The woman is a documentary filmmaker called Agnes Varda and the guy is a street artist named JR (He's never revealed his real identity in public). This is the climax of the film, which is also made by Varda, as she and JR go to visit French filmmaker Jean-Luc Godard, whom Varda knows personally. For whatever reason, Godard refuses to come out, and JR shows Varda his face off screen to try and comfort her.
@@jackmclean4120 also the message on the window is the exact same message that he left her when her husband had passed away, which adds another layer to all this and shouldn’t be left out
She left a beautiful answer. Give me your pencil is ironic. She's mocking him and his references by this reference to an old popular french song, which is beautiful and poetic (and also has a hidden sexual meaning, by the way, but it's surely not relevant here). The name of the man in the song is Pierrot, who is an archetypal figure of the sad clown, and a reference to Pierrot le fou. Varda replaces Pierrot by Jacquot. Then she is mocking his memory, which is actually either resentment, rancour. And she adresses it to the artist JLG, not to Jean-Luc, because she is really kind.
Isn't that the case with so many artist revolutionaries? They claim to want to dismantle structures and yet end up being these little bourgeoisie men who end up preferring their comforts over legitimate change.
JLG was here being used for views, typical in this day and age. He wisely refused. Of course, it takes the American mindset, as exemplified in the comments and unfortunately being copied globally, as exemplified in the clip, to think that everything must be sensationalized and captured on film, to think that sweet memories and intimate moments must be shared with the whole world, to turn everything into a spectacle of the absurd. That the critique and rejection of this vile new tendency comes from a filmmaker makes it even more profoundly ironic and powerful.
Or, he’s just an ahole. Regardless, if we can’t be sure of Goddard’s intentions here, we can definitely not be sure of the young director’s ones either... it might be “easy” views that are understandably abhorred by true filmmakers. So excuse me for being skeptical...
@@julianagarciav9676 what a naive, childish and unperceptive, though arrogant (all the more so, in fact) interpretation of what I wrote. Perhaps it is not Agnes Varda who was behind the documentary here. Maybe, just maybe, it is the young lad beside her. Perhaps you should actually do some research into the matter. Perhaps. Oh and “lmao”...
@@julianagarciav9676 oh and by the by, even if it were “a great filmmaker” behind this documentary, it doesn’t mean that JLG wasn’t being used either. What poor logic. Being a great filmmaker doesn’t preclude one from seeking cheap views. What kind of thinking is that?
Why would Godard want to be part of this film, with JR showing up at his house, mimicking him and plastering Banksy Lite blowups all over the countryside? Godard is still making great films. JR is the pretentious hustler here.
Nossa, para mim foi uma ofensa, imaturidade e desumanização. Coitada de velhinha. Foram amigos e foi tratada como lixo
3 месяца назад
@@astropgn Godard não é o tipo de pessoa que você vai visitar pra tomar chá à tarde e falar do passado. Ele esteve sempre pensando no agora e no futuro.
Ah, eu acho que esse seu ponto é interessante, e pode até ser verdade. Mas ter filosofia progressista não dá a ninguém o direito de ser cuzão com as pessoas que fizeram parte da sua vida. Ainda mais as do seu círculo de amizade. Antes de Godard ser Godard, ele era um ser humano, assim como ela e assim como nós.
Rosalie Varda reveals the truth: Production team of her mother's film KNEW Godard would not receive Agnès! Varda found out about this later, and even so, she kept insulting Godard in the film! Much is said, among the cinephile public (or not so much...), about a scene from the film 'Visages, Villages' (2017), by Agnès Varda, in which the filmmaker and director of the film goes to Godard's house ( in Rolle, a small town in Switzerland), to meet him. And it is clear that the scene of the reunion of these two great names of French and world cinema would be present in the film. However, when Varda arrives at the scene, she sees a message from Godard saying that he would not receive her. Hence, the filmmaker is outraged and offends Godard, calling him a 'dirty rat'. This fact, shown in Varda's penultimate film, has been widely used by the so-called 'haters' of Godard, that is, by people who hate him, to attack the filmmaker on social networks, and many of them even use low expressions level (swear words) to refer to the same. However, from now on these people will have to change their posture, unless they are not ashamed to recognize that they were wrong. I say this because Rosalie Varda, who is the daughter of Agnés Varda and Jacques Demy, another French filmmaker who was very close to Godard and the other 'Young Turks' (Truffaut, Chabrol, Rivette, Rohmer), revealed the whole story. Note: Agnés Varda and Jacques Demy were married in 1962 and lived together until his death, which occurred in October 1990. I just read a text, which was published on the website 'El Español' on 21/09/2022 and which was written by Carlos Riviero. And in this text it is revealed that the production team of 'Visages, Villages' (2017), the film in which we see this controversial scene, knew that Godard would NOT attend the meeting. However, the film's production team decided not to inform Agnès Varda of this fact, as they wanted to record the filmmaker's angry and irritated reaction when she discovered that Godard was not going to show up to receive her. With this, we see Agnès insulting Godard, calling him a 'dirty rat'. In addition, another important piece of information about the event is that, later, Agnés Varda herself was informed by her daughter that they all knew that Godard had warned her that she would not receive Varda. And yet, they decided, with Agnes' own approval, to keep the scene in which the filmmaker offended Godard. This decision by Varda is highly questionable and can indeed be heavily criticized and considered dishonest. After all, Varda maintained, in the film, against Godard, an offense he did not deserve. It would have been much more honest and correct for her to explain everything that had happened, so that those who saw the film would know the full truth, namely that her production team (which included her daughter , Rosalie) who hid the correct information from her, namely that Godard had already warned them that he would not receive Varda. But as she did not learn the truth, then Varda went to Godard's house, she was not received, she was revolted and offended him. However, maintaining the offense after learning that the incident was not Godard's fault, but his production team's fault, is something ethically unacceptable. Agnès Varda had an obligation to inform everyone about what had really happened, but she did not. Rosalie herself had this to say about what happened: “I really think it was a very generous act on his part. And that's what my mother came to understand. Jean-Luc knew that if he appeared in the last sequence of the film, he would steal the entire film from her. It would go from being my mother's last film to becoming Godard's last appearance." In his text, Carlos Riviero wrote the following: "In the last few bars of Faces and Places (2017), the camera captures the anger and sadness of the aging Varda as she reads the encrypted message that Godard left written on the window of her house, where he supposedly arranged with her to film an epic reunion. He ruined the ending of the movie. Probably from her last film, as it was if we do not count the anthological film, made from pre-existing images, 'Varda de Agnès' (2020). Hurt and confused in front of the filmmaker's house, Agnès tells the camera that she knows Godard well, that she loves him, "but he's a rat". Years later, I had the opportunity to talk at length about this mysterious scene with Rosalie Varda, Agnès' daughter and producer of his latest films, including 'Faces and Places'. In the course of my interrogation, she implied that the production team already knew that Godard was not going to appear, that he had left them out, but they had not told Agnès. When the cameras rolled, she was convinced Godard would be there. It wasn't an easy decision to make, but they wanted to capture his natural reaction, which was to call him a "rat". Rosalie later discussed this with her mother on several occasions because she had very mixed feelings about the scene, although she decided to leave it in the final cut. Agnès, who died almost two years after that filming, ended up understanding what her old friend was doing, or so she thought. “I really think it was a very generous act on his part. And that's what my mother came to understand. Jean-Luc knew that if he appeared in the last sequence of the film, he would steal the entire film from her. It would go from being my mother's last film to becoming Godard's last appearance." Rosalie Varda Interview - Godard sent a gift to the family when Agnès Varda passed away! In addition, Rosalie Varda revealed, in an interview with the 'Indie Wire' website, published in September 2019, that Godard sent a special gift to Varda's family when she passed away. In the interview, Rosalie stated the following: "He sent me a sort of collage of photos of Agnés," said Rosalie Varda, who produced "Faces/Places." "It was something special. It's a secret. But he sent me something nice. I think he cared a lot about Agnés . He's seen all her movies." Links: Text by Carlos Riviero: www.elespanol.com/el-cultural/blogs/otras_pantallas/20220921/partir-godard-mundo-entero/704799517_12.html Interview with Rosalie Varda: www.indiewire.com/2019/09/agnes-varda-daughter-rosalie-interview-1202171080/
hahaha you're delusional, breathless, pierrot le fou, in praise of love, the image book, prenom carmen, alphaville, la chinoise, passion, hail mary, helas pour moi, numero deux, nuovelle vague... just mentioning some godard kino better than your favourites' best film
Goddamn, it pisses me off to see Agnes upset here. Whatever the context, I hope Godard privately apologised to her before her passing. He is a legend for sure (as AV is), but comes across as a rude, arrogant prat here.
The woman is a documentary filmmaker called Agnes Varda and the guy is a street artist named JR (He's never revealed his real identity in public). This is the climax of the film, which is also made by Varda, as she and JR go to visit French filmmaker Jean-Luc Godard, whom Varda knows personally. For whatever reason, Godard refuses to come out, and JR shows Varda his face off screen to try and comfort her. (I copied and pasted this from another comment, I haven't seen the documentary myself)
If you watch the scene before we learn that they set an appointement. He knew they were coming, and I think he knew about the movie Agnes was making. He accepted the meeting anyway, made them travel to another country, and then proceeded to lock them out of his house without so much as an explanation. It was truly shitty of him, and no amount of cryptic message written on some window will change that.
Godard's right. He doesn' want to be trapped in a cinema device that he can't control. He never did that. He said no when he knew what they wanted, and they insisted and went there with a crew. The note he left wasn't meant to hurt her, it's a bittersweet memory to a friend. Classic JLG
@@FuturCrayon exactly. People here would be judgemental anyway. It’s clearly not the brightest crayons in the pack who are commenting against the guy - they see a poor old lady and they are swayed easily. That said, I’m not going to defend him entirely (though these same dim crayons interpret any logical thinking as such): truth is we don’t have absolute knowledge of this. One question though: how do you know he said no and they went anyway? My understanding was that he actually agreed and then changed his mind - of course it could have been that they were informed and are simply playing the part for the cameras, though that’s not a thought the dim ones would entertain.
