Holding her 16mm camera, an optical prosthesis for a 20th-century stroller, Agnès Varda filmed 42nd Street in NYC in 1967, filming crowds of passers-by to the beat of the Doors. To get lost with her in the lights, bodies, faces, and chaos of New York, overcrowded and multi-ethnic, there was Pier Paolo Pasolini.
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这部纪录片由三个部分组成，其中《摄影师阿涅斯》包含了布拉萨依人物照、50年代：人物照和镜头的构成、阿维尼翁庆典日和国家人民大剧院、近期完成的人物照。
《电影人阿涅斯》通过碎片式的电影海报内容还原一个最真实的阿涅斯。
《艺术家阿涅斯》包括2003年的威尼斯双年展，《来自努瓦穆捷的三折画》、《努瓦穆捷的寡妇们》、卡地亚基金会展览：岛和她、7台艺术装置、5台全新购置、保罗·瓦莱里博物馆、《大海的心》、旅途在南特、电视机商店（节选自影视片段《城市中的小黑屋》）、多米尼克·桑达与米歇尔·皮寇里、《非法占地者》（《被侵占的房屋》）、《我们如此相爱》。装置节目由阿涅斯瓦尔达及埃洛迪·弗拉德拍摄完成，还有中国CAFA艺术博物馆展出的《阿涅斯在中国》。
致敬法兰西那些平凡的伟人。

A rare and beautiful moment in cinema where two friends — who happen to be pioneering, legendary filmmakers from the French New Wave — meet in real life and in a virtual world. In the film, which was shot at two points between 2009-2011, Agnès Varda visits Chris Marker in his studio, a few years before his passing. She admires his magnificent mess, snooping around for details that reveal “the hidden side of Marker’s work”: a labyrinth of wires and computer equipment, a collection of images, magazines, and books, and — of course — cats. The film takes on a wonderful surrealist turn when Varda creates an avatar to meet Marker’s avatar in the online virtual world of Second Life.

Venturing from Venice Beach to Watts, Varda looks at the murals of LA as backdrop to and mirror of the city’s many cultures. She casts a curious eye on graffiti and photorealism, roller disco & gang violence, evangelical Christians, Hare Krishnas, artists, angels and ordinary Angelenos.

阿涅斯·瓦尔达04年的纪录片《艾丽丝华妲光影定格》，这是香港的译名，影片的原名是Cinévardaphoto ，其实是瓦尔达2004、1982、1963年，三个不同年代拍摄的三部纪录短片：《伊迪莎、泰迪熊及其它》（2004）、《尤利西斯》（1982）、《你好，古巴》（1983）。贯穿这三部纪录片的主题则是照片。这三部纪录短片在顺序上呼应了影片的片名“Cinevardaphoto”。 《伊迪莎、泰迪熊及其它》代表着传统电影技法(Cine)，瓦达本人的姓被用来象征个人化与诗意的《尤里西斯》，至于《古巴，你好》，自然是Photo了。
瓦尔达不仅是法国电影“新浪潮”中的重要一员，导演了大量的剧情电影和纪录片，也是一个卓有成就的摄影师，拍摄出版了不少的摄影集。我看过她镜头中的法国电影人，工作状态的生活状态的，抓拍得十分生动。也许这个原因，瓦尔达有很深的“图片情结”，这一点在她的纪录片中表现得尤为突出。在《我和拾穗者》中，从米勒的名画到瓦尔达各地收藏的明信片，都体现了她的这种情怀。04年的这部《艾丽丝华妲光影定格》更是将这种“图片情结”发挥到极致。影片中的三个短片都与照片有关，第一部《伊迪莎、泰迪熊及其它》记录一个用数十年时间收集含有泰迪熊的照片的女子在慕尼黑做的展览，第二部《尤里西斯》则以瓦尔达30年前拍摄的一张照片为线索，由照片、旁白、以及动态摄影构成，而《古巴，你好》则完全放弃使用摄影机，完全由呆照组成，运动感则依靠剪辑创造，类似于克里斯·马克的《堤》。瓦尔达将三部纪录短片串联在一起，体现了瓦达对于影像及电影本质的思考。其实，电影依靠的无非是人生理上的似动现象，每秒钟24个画格本来就是静止的影像。因此，不用摄影机未必不能拍电影。

Monsieur Cinema, a hundred years old, lives alone in a large villa. His memories fade away, so he engages a young woman to tell him stories about all the movies ever made.

描述一位法国女学生与一位希腊知识分子之间的爱情故事，其中穿插了一些对希腊流亡法国之异议人士的访问，谈及他们对希腊的政治和独裁政权的看法。是因为政治上的考量，这部影片并没有在电视上播映过，仅于1970年布鲁塞尔的一个影展上，以尚未完成剪辑的状况下放映过。

A documentary film directed by French Agnès Varda as an extension of the exhibition 'L'île et elle'. The installation 'Les veuves de Noirmoutier' (or 'The Widows of Noirmoutier') had various women filmed by Varda, young and old, who spoke about their widowhood and their residence on the island of Noirmoutier. The film is a montage of these meetings, which are both simple and melancholic.

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.”