2000
Chicago International Film Festival
最佳紀錄片金雨果獎
最佳紀錄片金雨果獎
最佳歐洲紀錄片
看《艾格妮撿風景》是很享受的過程，不鋪陳預設的題旨，而是追隨好奇，由受訪者帶領，感受生命與事物，如安妮華達說，「真實世界永遠比編寫的劇本更令人驚奇」。千禧年前，年已 70 的安妮華達在巴黎艾加基內大道咖啡館，看見有人在菜市收攤時「撿食我們丟棄的東西」，「靈感在生活中，不請自來」，這是拍片緣起。
當時的法國電影圈從製片、導演、工作人員，再到影評人、電影史學家，清一色是男性，華達是 1958-1962 年間唯一一位拍攝長片的女導演。成名作《五點到七點的克萊歐》距離她第一部作品隔了七年（期間三部短片有兩部是觀光局委製），正是因為她不被看重，找不到資金，最後不得不靠先生傑克德米引薦當時新浪潮電影的製作人博勒加德。
“I live by my own standards—not by men’s.” She was a director, a cinematographer, a poet, an installation artist, a key figure of the French New Wave. She was a woman. She filmed her muses, scavengers, drifters, distant uncles, lost lovers—and herself. She wandered through the Left Bank of Paris, strolled down Rue Daguerre, flew to San Francisco and Cuba, and eventually returned to the beach she loved most. She was Agnès Varda. This August, Giloo presents 14 handpicked works by Varda—black and white, color, documentary, fiction, film stock, and DV. Two years after her farewell, we invite you to once again meet her—at her sharpest, and her kindest.
While watching a film, you’ve probably thought: If only I could be there too. Whether it’s the long journeys the characters take or the breathtaking scenery that stuns you into silence. John Berger once asked: “Did you come by photograph or by train? Every photograph is a means of transportation.” So take these documentaries as letters from afar— Let them lead you into unimagined journeys, Into lands you’ve never set foot in.