It not only informs and educates, it enlightens, and does all this with supreme enchantment and poetry.
The Gleaners and I (2001)
Tomatometer
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Reviews Counted:35
Fresh:32
Rotten:3
Average Rating:7.6/10
Theatrical Release:Mar 7, 2001 Limited
Synopsis: Veteran French filmmaker Agnes Varda ads a triumphant and ultra-contemporary chapter to her life's work of cinematic investigations into the lives of characters relegated to society's margins... Veteran French filmmaker Agnes Varda ads a triumphant and ultra-contemporary chapter to her life's work of cinematic investigations into the lives of characters relegated to society's margins (usually women) with the graceful and compelling documentary, THE GLEANERS AND I. Departing from Jean-Francois Millet's celebrated 1867 portrait of women picking through a harvested wheat field entitled "Les Glaneuses," Varda constructs a modest and compassionate visual essay on the concept and lifestyle of "gleaning" or scavenging, once ubiquitous in rural 19th Century France. With digital camera in hand, Varda vagabonds around France in search of the 21st Century's incarnation of the gleaners. From potato fields in central France, to abandoned vineyards in Burgundy, to supermarket dumpsters in Paris, Varda's film portrays a completely surprising and ultimately complex populace, who subsist off of the waste of others. The film's casual style allows the intelligence, dignity, and honesty of the subjects to shine through as Varda herself pieces together a modern aesthetic and ideology of gleaning. With affectionate humor and searching intelligence, Varda points the camera at herself, marveling at her own process of aging and the gleaning that lies at the center of her own art and life. [More]
Director: Agnes Varda
Director: Agnes Varda
Screenwriter: Agnes Varda
Composer: Joanna Bruzdowicz
Studio: Zeitgeist Films
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Reviews for The Gleaners and I
[I]t not only informs and educates, it enlightens, and does all this with a supreme enchantment and poetry.
You couldn’t ask more loving and sensitive illumination of an activity more often considered demeaning.
The Gleaners and I shows Varda in full flower, ever reaping what she has sown.
A funny sequence gets as many interpretations of the law that governs the gleaning around oyster beds as people providing them.
An elliptically subtle and beautifully evocative portrait of how one man's trash becomes another man's treasure.
And in what appears to be a documentary [Varda] conceals a tender meditation about her own life, and life itself.
Gathering these various gleaners into the pastiche that is her film, Varda preserves them, gives them new form, and therefore new life.
Varda's subject matter is surprisingly rich, but it's her own energetic, curious nature that gives the film its snap.
Agnes Varda finds that one man's trash is literally another man's treasure in her highly personal The Gleaners and I.
However rudimentary her thesis on the subject is, Varda is able to explore her interest, pass it on to the viewer and still give them something to learn about.
The Gleaners and I is an exceptional, accomplished documentary that serves as a striking example of 'found cinema.'
[A] lyrically ramshackle essay about people, including Varda herself, who don't fit into society's cubbyholes.
Varda draws a neat parallel between the collective urge and her own career in filmmaking.
[The] characters are defined by dawdle and drift as much as Varda is in The Gleaners and I, catching life on the fly -- and implicitly inviting us to do the same.
[Varda] seems less the confident, brilliant filmmaker history would make her out to be and more of a doddering old biddy with too much time on her hands.
strings together observations about psychotherapy, freeway traffic and the origins of cinema while opening our eyes to a subculture few of us ever think about.
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