Agnès Varda’s follow-up to her acclaimed documentary THE GLEANERS AND I takes us deeper into the world of those who find purpose and beauty in the refuse of society, revisiting many of the original film’s subjects.

Three actors in Hollywood live and love together. A director comes from New York to make a movie about actors and Hollywood.

1988 film by Agnès Varda, Gordon Chan

Agnès Varda's documentary portrait of her late husband, Jacques Demy. A companion piece to her Jacquot de Nantes.

是一部关于Jacques Demy 的《[
洛城少女]》（Demoiselles de Rochefort，1966）的纪录片，片中混合了当初拍片的现场纪录和二十几年后Rochefort当地为影片庆生的实况。
In 1967, the phenomenally successful director of the films Lola and the groundbreaking musical Les Parapluies de Cherbourg, Jacques Demy, arrived in the little port town of Rochefort and, together with his art director, decorated the whole town in cheerful, almost surreal fashion for the filming of his next musical, Les Demoiselles de Rochefort. This enormously well-received film, packed with songs which became integral to French popular culture, put the little town of Rochefort "on the map." Twenty five years later, a lot of things have changed except for the fond memories of the people who worked on the film, and of the townspeople. In this celebratory documentary, Agnes Varda, the wife of Jacques Demy, brings some of the players and extras together back in Rochefort for some reminiscences. In keeping with the thoroughly romantic nature of the musical, she also tells the story of how Les Demoiselles de Rochefort's extras found romance and had their lives changed by participating in its making. The present-day story is highlighted by clips from the earlier film, and from a documentary of the period showing how it was made. ~ Clarke Fountain, All Movie Guide

Ydessa Hendeles' exhibition entitled "The living and the Artificial" (consisting of works of art all comprising a photograph of living persons in the company of one or several teddy bears) had puzzled Agnès Varda so much that she decided to go to Toronto where the artist lives and interview her. In front of Agnes Varda's DV camera, Ydessa tells about the singularity of her artistic approach. She also expresses herself about the Holocaust, which both her parents survived. (Written by Guy Bellinger, from IMDB)

1958 film by Agnès Varda

Impressions of the rue Mouffetard, Paris 5, through the eyes of a pregnant woman.

Appropriately, her own 14th arrondissement (specifically Rue Daguerre) is a source of pleasure for the protagonist (Jasmine Thiré) and viewer, having been photographed carefully, beautifully, and lovingly. The first word that this all brought to mind way “playful,” and I’m pleased that my simple descriptor is something Varda would consider appropriate. Says her, “It’s playing a game with reality. The game is called cinema.”

An unusual visit to a large, empty apartment. But is it empty or not? Maybe a family has lived there or is going to live there. Maybe a young girl is going to escape from there. Maybe some of the old-timers who lived there never left. The walls themselves tell the stories of the time passing by.

1955 film by Agnès Varda

1963 film by Agnès Varda

Annette Messager, plasticienne française connue et reconnue, se livre à travers ses créations.

170幅摄影组成的1分钟系列短片，由阿涅斯·瓦尔达评说，并在每一集的最后给出摄影者姓名，此短片共收集其中的14集。

An intimate portrait of the small shops and shopkeepers of the Rue Daguerre in Paris, a picturesque street that has been the filmmaker’s home for more than 50 years.

1981 film by Agnès Varda

1958 film by Agnès Varda