The production knew that Godard didn't want to be filmed, he told them. JR too. They didn't say to Varda, in order to make this scene. And now... It's all Godard's fault.
I see the visit as Varda forcing a situation. Godard did not want to receive the trendy young man with her, because he was wary of how his name can be associated with anyone on the slightest pretext. In other words, he did not want to be mixed up in her own hammy business promoting this hipster. Varda was pulling a stunt, and had every reason to expect Godard would undercut it.
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.
The problem here is not. Agnes is JR. Mr. Godot doesn’t want to have nothing to do with that guy. I heard him say that he’s one of the worst fake artist of this generation JR he’s a culture vulture
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"
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
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...
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.
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´m extremely desagree with your final sentence, Cinema is not just "lies", its a way to ilustrate a true message that can make the public feel the same. By that logic Acting is lying, special effects are a scam, the fact that they knew that Godard wouldnt showed up, they knew he is a jerk. They used a documentary strategy to get a scene. Agnés agreed with the scene because she knew it worked, and with a filmmaker mentality she couldnt desagree. That doesnt justify that the big mayority of people who watch the film and felt disgust by the actions of Godard. Even if its fake or real, the documentary is edited to make you fill discusted. So no, people did not missed the point. There are very shitty friends, even if they respect you in some areas, Godard too its a filmmaker and obviously he likes to make his life similiar as his films. Even if they hurts the people they loved. Its like the tecnic they used in Abbas Kiarostami "Where is the friend's home", where they traumatized a kid in camera to get one of the best heartcrushing scenes in cinema history. "Cinema=Lies" can just be applied in shitty movies. Cinema=Ilustrates reality (even if its scummy sometimes) its a more acurate way to represent it.
@@Xernya-b5c the idea that cinema represents reality is a very naive conception of both cinema and reality. Cinema is a construction (so it is the reality, mediated, never immediate). And yes even bad movies are ficction, not reality. Cinema is its own domain (just like every art). And this is even more important here, the whole point of Godard break with Nouvelle Vague is exactly that he reinforced the mediated character of cinema (his main interest 70s onwards) and a constant criticism of the immediatism that marked european vanguards from 30s to the Nouvelle Vague itself ("cinema is a camera on the hand and an idea in the head", "record reality how it is" etc., something the situationists already criticized Godard and Truffaut for in the early 60s
@@jamantaodeus6097 I never said that cinema represents reality, although if I had said that, I would be absolutely correct, because I never said that cinema is reality, but rather it represents it. A fundamental part of cinema is the synecdoche of reality. I agree with what you’re saying, and you provide good historical insights on Godard’s thinking and his “break with the French New Wave.” But it has absolutely nothing to do with what I’m saying. I disagree with what the main comment says because it claims “cinema=lies.” When you say that cinema is a construction, you’re generalizing all the spectrums that manifest in art. I love that you understand this historical part of cinema, but it’s very naive to think that it’s the only one. Honestly, I don’t want to argue with historical facts because you simply helped me reinforce my idea that cinema is not a lie.
Obviously Godard didn't want to have anything to do with Varda's and JR's embarrassing street art project - he's not being pretentious he's protecting his dignity!
You guys insulting Godard are clueless, how can you judge without any knowledge of the context ? I bet you're the same herd that hate on the likes of Picasso for being not so nice with his women (although you weren't there either). Stfu already.
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/
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?
I know this is probably Godard being a pretentous bastard, but do keep in mind Godard by this time was almost constantly hospitalized and suffer a great deal of pain from his illness. But yeah Godard and the Left Bank has always suffered from a strained relationship
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.
This looks more like Agnes Varda being overly sensitive than anything else. How do they even know if Godard was in there? Maybe he didn't hear them? He doesn't really have to let anyone into his own house. That note Godard left didn't look that bad at all either.
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.
Nossa, para mim foi uma ofensa, imaturidade e desumanização. Coitada de velhinha. Foram amigos e foi tratada como lixo
5 месяцев 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.
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,
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.
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.
entendi nada sera q vai sair dublado?
The production knew that Godard didn't want to be filmed, he told them. JR too. They didn't say to Varda, in order to make this scene. And now... It's all Godard's fault.
I see the visit as Varda forcing a situation. Godard did not want to receive the trendy young man with her, because he was wary of how his name can be associated with anyone on the slightest pretext. In other words, he did not want to be mixed up in her own hammy business promoting this hipster. Varda was pulling a stunt, and had every reason to expect Godard would undercut it.
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.
Godard n'a pas voulu faire son Orphée
The problem here is not. Agnes is JR. Mr. Godot doesn’t want to have nothing to do with that guy. I heard him say that he’s one of the worst fake artist of this generation JR he’s a culture vulture
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"
Too late for facts. People already got mad!
“Lend me your quill” is such a badass way to start a diss letter.
What's the name of this doc?
Damn what an asshole
Godard n’a jamais été un loser prétentieux, et il n,avait peut-être pas envie de rencontrer JR après tout. Il semblait parfois assez dépressif.
That bag of brioches is by no means properly secured to that handle
Let’s not forget he also treated Anna Karina abysmally. Jean-Luc never grew up: ruclips.net/video/AKVrnAB8bO4/видео.html
he was based for this, rip king
Quel roi.
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
I have literally never forgiven Godard for this...
I never forgave Godard for Breathless (1960) I'm not sure if I'll ever watch any of his garbage again.
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...
A dog will always be a dog. No matter what tricks you teach him.
JLG, sad antisemitic.
😥
Godard was a real jerk. Varda even brought him fresh croissants. A lovely and memorable film however.
Varda is a better director than Godard, anyway
godard refuses to be exploited by hack taking advantage of an elderly woman.
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.
i'm sure it devastated him to not get that oscar nom...
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
@@tapecase intentions don't always make something tactful, wise or right
I´m extremely desagree with your final sentence, Cinema is not just "lies", its a way to ilustrate a true message that can make the public feel the same. By that logic Acting is lying, special effects are a scam, the fact that they knew that Godard wouldnt showed up, they knew he is a jerk. They used a documentary strategy to get a scene. Agnés agreed with the scene because she knew it worked, and with a filmmaker mentality she couldnt desagree. That doesnt justify that the big mayority of people who watch the film and felt disgust by the actions of Godard. Even if its fake or real, the documentary is edited to make you fill discusted. So no, people did not missed the point. There are very shitty friends, even if they respect you in some areas, Godard too its a filmmaker and obviously he likes to make his life similiar as his films. Even if they hurts the people they loved. Its like the tecnic they used in Abbas Kiarostami "Where is the friend's home", where they traumatized a kid in camera to get one of the best heartcrushing scenes in cinema history. "Cinema=Lies" can just be applied in shitty movies. Cinema=Ilustrates reality (even if its scummy sometimes) its a more acurate way to represent it.
@@Xernya-b5c the idea that cinema represents reality is a very naive conception of both cinema and reality. Cinema is a construction (so it is the reality, mediated, never immediate). And yes even bad movies are ficction, not reality. Cinema is its own domain (just like every art). And this is even more important here, the whole point of Godard break with Nouvelle Vague is exactly that he reinforced the mediated character of cinema (his main interest 70s onwards) and a constant criticism of the immediatism that marked european vanguards from 30s to the Nouvelle Vague itself ("cinema is a camera on the hand and an idea in the head", "record reality how it is" etc., something the situationists already criticized Godard and Truffaut for in the early 60s
@@jamantaodeus6097 I never said that cinema represents reality, although if I had said that, I would be absolutely correct, because I never said that cinema is reality, but rather it represents it. A fundamental part of cinema is the synecdoche of reality. I agree with what you’re saying, and you provide good historical insights on Godard’s thinking and his “break with the French New Wave.” But it has absolutely nothing to do with what I’m saying. I disagree with what the main comment says because it claims “cinema=lies.” When you say that cinema is a construction, you’re generalizing all the spectrums that manifest in art. I love that you understand this historical part of cinema, but it’s very naive to think that it’s the only one. Honestly, I don’t want to argue with historical facts because you simply helped me reinforce my idea that cinema is not a lie.
HOLA nICO
good riddance
Obviously Godard didn't want to have anything to do with Varda's and JR's embarrassing street art project - he's not being pretentious he's protecting his dignity!
we're getting one side of the story.
You guys insulting Godard are clueless, how can you judge without any knowledge of the context ? I bet you're the same herd that hate on the likes of Picasso for being not so nice with his women (although you weren't there either). Stfu already.
So you are cool with woman-hating? You can see Someone as a horrible person and still enjoy their Art you genius Your fandom acting is embarrassing
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/
Godard ne joue pas le jeu il et authentique
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?
I know this is probably Godard being a pretentous bastard, but do keep in mind Godard by this time was almost constantly hospitalized and suffer a great deal of pain from his illness. But yeah Godard and the Left Bank has always suffered from a strained relationship
that's what happens when you're a vile socialist, karma gets your ass.
I really feel vindicated about only especially liking one or two of his films
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.
This looks more like Agnes Varda being overly sensitive than anything else. How do they even know if Godard was in there? Maybe he didn't hear them? He doesn't really have to let anyone into his own house. That note Godard left didn't look that bad at all either.
Or maybe you're just a massive Godard fan, who doesn't like seeing their hero being an arrogant jerk.
Como disse um sábio certa vez:se Deus levou Godard para o céu,ele fez um grande favor ao diabo
"i drew a heart anyway"
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.
One can be a genius AND a childish idiot, at the same time.
A genius he was decidedly not. He had some very sporadic moments of genius, like many other people do.
''i drew a heart anyway'' :')
Godard could even make a good scene in someone else’s bad movie 🥲
Não pareceu uma ofensa e sim uma homenagem e lembrança melancólica de algo que acabou e ficou no passado.
Nossa, para mim foi uma ofensa, imaturidade e desumanização. Coitada de velhinha. Foram amigos e foi tratada como lixo
@@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.
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,
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.
I wouldn't open up the door to my house if that bafoon JR showed up either! Good on you JLG!
What's a bafoon then? Oh and yawn, Godard was a creep.
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.
fuck caring about any part of this