Sans Toit ni Loi (Vagabond) (Without Roof or Rule)1985
Sans Toit ni Loi (Vagabond) (Without Roof or Rule) (1985)
Sans Toit ni Loi (Vagabond) (Without Roof or Rule) Photos
as Madame Landier
as Tante Lydie
as Assoun (the vineyard worker)
as le premier motard
as le camionneur
as Le demolisseur
as la jeune fille e la pompe
as le vieux aux allumettes
as le jaune homme au sandwich
as le garagiste
as Le petit monsieur blen-mis
Critic Reviews for Sans Toit ni Loi (Vagabond) (Without Roof or Rule)
The road movie takes a somber turn in this austerely beautiful 1985 French drama by Agnes Varda.
A masterpiece, clearly one of the finest films in many a year.
Agnes Varda's sturdy neo-realistic social study of a fiercely individualistic young woman, who happily lives a hobo's life on the road in France, is nothing short of a masterpiece.
Vagabond doesn't ask its main character to explain herself, and that attitude makes all the difference.
A striking film -- one that feels like it was made at least 10 years earlier -- and, I must note, a fairly depressing one.
Audience Reviews for Sans Toit ni Loi (Vagabond) (Without Roof or Rule)
Pursuing the roads for purpose, meaning, and acceptance. A subjective examination of a pernicious interpretation of freedom, Vagabond is an Agnès Varda character examination that simply observes and appreciates, mostly dependent on the outstanding performance of a young Sandrine Bonnaire as Mona Bergeron. Outstanding.
it's a beautiful film, perhaps a little too poetic in it's view of homelessness. definite tones of' 'into the wild' in other characters' envy of the heroine's freedom. i loved how varda framed shots but was a little annoyed at characters breaking the fourth wall. sandrine bonnaire is excellent, well worth a watch
A teenage girl is found frozen to death in a ditch on a winter morning in rural France. Through flashbacks and interviews, the rest of the film shows the audience how she got there. It's not a happy or pretty story, but it's a story worth experiencing. The film follows this young woman, named Simone "Mona" Bergeron, as she travels on foot across Southern France. We watch as she encounters others such as herself, and others who are not like her at all. She drinks too much, uses drugs, has sex seemingly indiscriminately, seems to have no goals or plans other than life on the road. She reveals a few desires along the way, such as wanting to have a potato farm and wanting a relationship with someone, but when both opportunities present themselves, she does not make use of them. We are never told any more about her, where she is from, if she is running away or running to, and from or to what. The people who knew her along the way discuss her only in the barest of details, in that they don't know any more than we do about her. There are several scenes of people judging Mona based on her outward appearance. Yes, they are correct in some instances, but somehow they still come across as clods for thinking that way. I've always found Southern France to be beautiful, with its quaint towns, wide fields of lavender, grapes and sunflowers, and fountains. However, in director Agnes Varda's hands, this open landscape turns into something desolate and unfriendly, cold to all but the most privileged of its citizens, but yet still beautiful. It is very much a metaphor for Mona's life. With the exception of a few characters -- Madame Landier the agronomist, Yolande, Jean-Pierre and his delightful old aunt Lydie -- only Mona is given any real screen time. Sandrine Bonnaire won a Cesar (the French Academy Award) for her portrayal of this down-and-out young woman. She was only 18 at the time, and she does a wonderful job of making Mona both sympathetic and distasteful -- we are told she smells bad, she is lazy and rarely it seems that she appreciates the things people do to help her. But yet you still want her to succeed, even though we know from the very beginning that she won't. Bonnaire resembles a young brunette Jeanne Moreau, so much so that I researched to see if there was any familial connection (I didn't find anything.) You might want to save this film for another time if you are feeling in any way down or lonely. But don't forget about it. You may be saddened, but you won't be disappointed.
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