AGNES VARDA: VOYAGER OF LIGHT
There is beautiful chemistry between the legendary 88-year-old French New Wave filmmaker Agnes Varda and JR, the youthful French photographer who cares for Varda as a loyal would-be grandson of artistic intentions. JR and Varda share directing credits for this disarmingly sweet and poignant documentary that plays more as a docudrama due to the circumstance of uncertainty regarding Ms. Varda’s health.
The movie is a nuanced sociological study of French culture. Needless to say, the amount of pretense on display is near zero. Think of it as neo-realistic French New Wave ethnographic study in B minor. The personal and artistic elements are articulated to their fullest — a rare cinematic, event to say the least. It doesn't hurt that JR and Agnes Varda are two of the most endearing human beings you'd ever want to spend two hours of your life with.
The harmonious pair of inspired film-project pals travel to small towns in France in a Mercedes Benz truck decorated to resemble a giant camera. Already we are in a filmic world. The sides of JR’s fancy mode of transportation includes a photo booth where locals are photographed. The truck then prints out black-and-white portraits on gigantic sheets of paper that JR pastes to the sides of buildings to create dramatic personalized statements about the significance of human faces and truth.
Although Varda’s vision is constantly blurry due to an eye condition, she complains about JR’s proclivity for always wearing sunglasses. She wants to see his eyes. But it is clear that JR separates himself as an artist from his subject so that your attention can focus on the art rather than the artist.
“Faces Places” is a film you discover and revel in the joy of its simplicity, patience, and naturalistic discourse. Like all of Varda’s films, this one is special. It won this year’s L’Oeil d’or at Cannes for good reason. If you only see one film at NYFF55, “Faces Places” is the one to watch.
Not Rated. 89 minutes. (A) (Five stars — out of five / no halves)
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