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The funding for the “Gleaners” project will last five years. She leaves behind a remarkable body of work that will serve as the foundation of this exciting program for students that will keep her timeless legacy alive.” She was a creative bridge between cultures, generations and cinema movements. “Her amazing work inspired the filmmakers who created the French New wave and in turn influenced generations of artists around the world. “Agnes Varda was a real trailblazer of cinema,” Sarandos told IndieWire in a statement.
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Netflix declined to specify the full extent of its investment, but Varda said the overall project was budgeted at 1.5 million euros. “I was very emotional when Ted Sarandos showed he was so interested in the transmission of my mother’s work,” said Rosalie. At the dinner, Martin said to Ted, ‘You have to talk to Rosalie.'” The two later met that fall at the Lumiere Festival in Lyon and again in Los Angeles. But I never thought about the dailies, the rest of the images. “I was like, ‘I don’t know!’ We had restored all her films and some were restored by the Film Foundation. “Scorsese asked, ‘What are you going to do with the digital images shot by Agnes with her digital cameras?'” Rosalie said. “I said to Martin, ‘This is Agnes, I know it,'” Rosalie said.Īt the time, Scorsese was preparing for the fall release of Netflix production “The Irishman,” and Rosalie found herself at dinner that night with the filmmaker and Netflix co-CEO Ted Sarandos. During the conversation, Rosalie recalled, a butterfly made its way across the room from outside. She was joined there by Martin Scorsese, a longtime Agnes Varda fan, who moderated a conversation at the festival about the filmmaker with Rosalie and Demy.
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Rosalie attended the Telluride Film Festival with the movie in 2019, six months after her mother’s death. Instead, Rosalie had been looking for a way to extend Varda’s engagement with younger generations as she does in the film school lectures at the center of “Varda By Agnes.” That documentary, completed when Varda was 90, followed her around the world as she delivered masterclasses on filmmaking to younger generations. However, she did not immediately consider restoration needs for Varda’s digital work, which began with the production of “The Gleamers and I” in 1999 and continued until her death. It’s a perfect subject for students to explore.” Agnes Varda (R) and French producer Rosalie Varda (L) attend the press conference of “Varda by Agnes” during the 69th annual Berlin Film Festival ADAM BERRY/EPA-EFE/ShutterstockĪfter her mother’s death in 2019, Rosalie discovered countless boxes in the basement of Agnes’ Paris home containing film fragments that had never been fully explored. “It’s about homelessness, recycling, all of that.
“The subject of ‘Gleaners’ is still very timely,” Rosalie said. For example, students can search for the word “cat” and pull all footage with cats in it, or incorporate unused interviews to change the original context of the film. The INA used artificial intelligence to catalogue images throughout the rushes that will enable them to build their own material out of them. The platform will launch in September at the Paris film school La Fémis with additional plans in the works to take it to American universities. This will be a real program that teachers can take to their students and work with.” “You cannot tell them to just go see these films in the cinematheque. “I think it’s really important to find ways for students to be interested,” Rosalie said. “It made me realize just how much Agnes is loved.” Rosalie, who runs her mother’s old production company Ciné-Tamaris with her brother Mathieu Demy, has spent the last several years cobbling together resources for the two projects. “It’s been a long journey,” Rosalie said. That undertaking, expected to get underway next year, will create an online database for Varda’s film materials beyond her feature films. Varda is also developing a separate archival project, “Memories of Images,” focused on the restoration of Varda’s film materials beyond her completed features. In addition to Netflix, the project has received financial support by a flurry of other investors: France’s National Audiovisual Institute (INA), Chanel, the Cinémathèque française, the Lumiere Institute, the Margaret Herrick Library, the Academy of Motion Pictures Arts and Sciences, the Criterion Collection, Janus Films, Yggdrasil & Ola Strǿm, and mk2 Films.
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It’s the legacy of cinema and how to get the young generation to be curious about it.” “But it’s not only about Agnes and Jacques’ films. “My mission is the transmission of her legacy,” said Rosalie, who is the daughter of Agnes and fellow director Jacques Demy, in an interview at Cannes.
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