Les glaneurs et la glaneuse: Agnès Varda's Self-Portrait
Author(s): Agnès Calatayud
Source: Dalhousie French Studies , Winter 2002, Vol. 61 (Winter 2002), pp. 113-123
Published by: Dalhousie University
Stable URL: https://www.jstor.org/stable/40837422
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Les glaneurs et la glaneuse: Agnès Varda's Self-Portrait
Agnès Calatayud
Je voulais faire un documentaire. [...] Et puis cette petite
caméra numérique me poussait à faire quelque chose de
personnel, j'avais envie de m'infiltrer dans le film de
façon charnelle. [...] On est toujours en train de
s'autoportraiturer : on décline notre état des lieux, on le
conjugue, mais avec discrétion et sans complaisance.
[. . .] Je me suis faufilée parmi [les glaneuses] comme une
filmeuse-glaneuse. (Varda 2000a: 32)
m /l utoportrait pas autobiographie," Jean-Luc Godard makes clear in a voice-over in
/î JLG/JLG - autoportrait de décembre (1995). In the second version of the script,
he clarifies the details of what constitutes a self-portrait:
Le film [est] le mélange entrelacé [...] de quatre éléments cinématographiques :
A ( 1 ) les paysages traversés
B (2) les films faits
C (3) les films non faits
D (4) JLG en action quotidienne
Soit l'image, soit le son, par élémentaire analogie, permettront de passer de l'un
des quatre éléments à un autre. (Godard 1998:287)
Five years later, Agnès Varda directed Les glaneurs et la glaneuse (2000), which, as
well as being a documentary on the forgotten practice of gleaning, is also a self-portrait.
Is it a coincidence that it should be two film-makers in their seventies, both products of
the New Wave cinema, who should try their hand at this type of film-making? We should
no longer be questioning whether creating a self-portrait is "un genre pratiquement
impossible au cinéma," as Godard said in Télérama magazine in 1995 (30), rather we
should be gaining an awareness of how today's film-makers are taking on board and
refining the rules which Godard so skilfully and intuitively devised. We should be
examining how in every new self-portrait, the film-maker goes to great lengths to extend
the boundaries of what can be achieved in the cinema - thanks, among other things, to
new technology such as the digital camera - while managing to avoid the pitfalls of being
experimental and non-commercial. Because what is new with this type of cinema is that it
works; in 2001, Varda beat all records in France for a film of this sort.
By means of analysing the music to the film, as well as two long key sequences (the
so-called "Retable de Beaune" sequence at the beginning of the film, and the "Retour du
Japon" sequence at the end of the film), my objective in this article is to show how Varda
has succeeded brilliantly in imposing her presence throughout the film. This is so even
when she is absent from the screen, just as if all the images of her film, laid end to end,
pieced together her signature. It reminds us of the film made around 1893 in which
Georges Demeny, the assistant to Etienne- Jules Marey, about whom we will hear a great
deal in this article, filmed himself writing his name on a blank sheet of paper.
Agnès Varda has for a long time been interested in self-portraiture.1 This is evident
from two early examples featured in her autobiographical experiment, Varda par Agnès
(1994). Like a Byzantine mosaic - doubtless a tribute to her Greek ancestors - her
1. For an extensive discussion of Varda and her work see Smith; Purchase; Bastide and Esteve; Flitterman-
Lewis; Cortellazzo and Marangi; Breton; and Ford.
Dalhousie French Studies 61 (2002)
-113-
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1 14 Agnès Calatayud
"Autoportrait 1954" (cf. Varda 19
Mona in Sans toit ni loi (1985) an
her "Autoportrait à Venise, parm
1994:4-5), Varda takes a photogra
Everything about her, from the w
hair is done, to the cut and fabric
Venetians. She repeats this proc
filmed with a sheaf on her shou
hangs in the Arras Museum of Fin
concerned, "la glaneuse, celle du t
tomber les épis de blé pour pren
can therefore be seen as a direct d
discern in it Varda' s desire not o
highlight what makes her so distin
Pitched somewhere between a do
la glaneuse is a jigsaw, or a gam
randomly scattered fragments and
form and colour. Thus a drawing
different pieces. Gradually, we
between Varda' s many identities
the traditional gleaners in French
many more connections, those b
roads and motorways, between tw
provinces, between the rudiments
"photographic the sop rifle") and
millennium (Varda and her litt
between Les glaneurs et la glane
these fragments can be pieced togeth
Reading the press pack that acc
can see that Les glaneurs et la gl
the "faux auto-portrait" of Jane Bir
J'ai depuis toujours une passion
un portrait en cinéma. Entre
paysages et personnages sec
d'aujourd'hui, une grosse têt
Michel entouré de vignettes p
serait le Jeu de l'imaginaire
Birkin] : « Écoute, on va faire
sur les saisons, sur les maisons
This passage, which establishe
creating the portrait of Jane Birk
press pack for Les glaneurs et la g
of the Archangel Michael, the ke
with minute attention to detail. S
the principal side of the altarpiece
by the influential Flemish artist,
golden cloud against which Christ
to film, on the same level as them
craquelée" (Gondinet- Wallstein 1
sky, their hands together in a sig
connection between this "brown
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Agnès Varda 115
scenes in Les glaneurs et la
those who rose from the d
gleaners in the film.
Varda' s camera, tracking
fearsome flames of hell, an
long silhouette of the arch
lens travels in front of the
faces of Varda and Birkin
details for the attention
glaneuse, they are able to
always the same. Then for
mouvant" - Jane Birkin was "la femme au miroir mouvant" (Varda
1994:273) - magnifies his face consistently as it moves along, just as Varda' s camera
does in the film when she stops on her own face. In his right hand, at the level of his
"angelic" gaze, he suspends the horizontal bar of the Judgment scales in just the same
way as Varda holds her digital camera at eye level. The archangel Michael maintains
"une stricte neutralité [...] indiquée par son visage sans expression et par le mouvement
de sa main gauche qui s'écarte, attentive à n'exercer aucune influence sur la pesée"
(Gondinet- Wallstein 19). The contrasting roles of the left and the right hands are a
reflection of the film-maker's own skilled hands:
Une filme l'autre pas, il y a une main qui regarde l'autre la filmer. J'ai toujours
aimé ce dédoublement propre au cinéaste : voir et réfléchir, être ému et mettre
en règle, filmer impromptu et monter rigoureux, capter le désordre et
l'ordonner. (Varda 2000a:32)
Varda identifies with the angel who is perched on top of a hill against a pastoral
background right in the middle of the picture. Like him, Varda has a slightly "raised"
position in comparison with the other gleaners amongst whom she has infiltrated as a spy.
The sequence featuring the "Beaune Altarpiece" takes place to the strains of music
composed by Joanna Bruzdowicz; she worked in close collaboration with Varda just as
she did in Sans toit ni loi:
Pendant les films, je [ne souhaite de musique] que là où on peut l'entendre.
[Pour Sans toit ni loi j'ai confié à Joanna Bruzdowicz] un cahier où, comme
pour chaque film, j'écris, séquence après séquence [...] des suggestions liées à
des sensations que je décris, ou bien je cite un poème ou j'indique des œuvres
de la même famille musicale. (Varda 1994:208-09)
Varda "physically permeated" the music as she had the film by signing her initials
on the score of Les glaneurs et la glaneuse and naming it "Agnès-Vieillesse." When she
exclaims in front of Jules Breton's La glaneuse: "L'autre glaneuse [...] c'est moi !", the
music immediately soars forth in counterpoint, forcing us to see in her a mirror reflecting
her emotions and state of mind. According to Claude-Marie Trémois (Télérama), Joanna
Bruzdowicz' s music for Sans toit ni loi was "faite de sons juxtaposés qui ne se résolvent
jamais vraiment en une harmonie" (Varda 1994:270). So similarly was her music for Les
glaneurs et la glaneuse, a film itself divided up into discordant sequences.
This music sums up Varda' s ambivalence towards growing older. She was already
wondering, seven years earlier: "[Q]ue dire du grand rappel à l'ordre qui se prépare
inexorablement incessament sous peu ?" (Varda 1994:7). Today, as the deadline gets ever
nearer, she wavers between a positive statement: "[...] vieillir c'est un fait, ce n'est pas
une tristesse" (Varda 2000e), and her morbid comment in the film: "[T]out de même,
c'est bientôt la fin," or: "Ce n'est pas forcément terrifiant, mais c'est pour ainsi dire
irréversible" (Varda 2000b). She seems to have taken on board the advice which Angele
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116 Agnès Calatayud
gave to her friend Cleo in Cleo
gloomy thoughts. There will be t
that is, accumulating images, w
Hervé' s workshop, which is cra
accumulation qui est nécessair
que c'est du plein, là, du surplein
In the film, life and death go h
der Weyden's altarpiece and its
scenes inspiring in his contempo
rage », ce n'est pas « oh désespo
même être « oh vieillesse amie »
Corneille' s Le Cid. Though cosm
ravages of time, wrinkles and w
these in close-up to efface any
documentary is to "get as close
quest breathes life into the diff
horizontal progression from o
allowing herself to be seen with
sequence a work within a work, a
work because she has to comb thr
As well as Joanna Bruzdowicz,
soundtrack. Pierre Barbaud had a
for Les créatures (1965), Franço
The other sizeable section of m
emotions, is called Rap de Réc
whose voice on the soundtrack de
on Joanna Bruzdowicz' s score.
society "qui jette des gens, qui j
means of expression commonly
marginalisation, in other words,
themselves. Rap is "poésie de
sublimation du quotidien devien
images which enable her to say
gens" (Varda 20000- Nor is her f
parle aussi du plaisir qu'il y a à
(Varda 2000a: 30). She juxtaposes
deeds; poverty-stricken refuse c
poorer neighbours the fruits of
migrateurs," that is, to people wh
One of the distinguishing feat
combining different forms of inn
different sounds. Against the f
form unusual images. When Var
makes us create a "mental rap"
(France's charity providing f
potatoes, the wrinkles on Varda
translucent surface of potatoes as
her ageing hand.
Just as you remember famous
make you remember scenes from
murs (1980) or in Sans toit ni
beginning of the film); the fish
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Agnès Varda 117
the down-and-outs in L'Opé
the island of Noirmoutier i
J acquo t de Nantes (1990);
75); certain lines from L'un
Sans toit ni loi. The corpse
dead sheep lying in a field.
voice in this film, remind us
Listening to the music, we
"samples" Joanna Bruzdow
from Agnès-Vieillesse. Eve
literally become a spokespe
rappers often give themselv
Les glaneurs et la glaneuse
The film was made between
is in itself a metaphor of th
a car instead of hiking by
[2000d]), and Varda is a "m
Burgundy up northwards to
to give her permission not t
travelling instincts: "J'ai gr
Séte dans l'Hérault, mon
journeying may seem aim
Domaine de la Folie, the
According to Varda, he wa
Beaune that Marey experime
Noël-Bouton, a descendant
des glaneurs. [...] On est f
over). Perhaps a shared love
almost genetically inherited
the first film-maker, or th
reaching out to others. The
is in itself an act of love.
According to Jean Laplanc
trouve son origine d'abor
birthplace of cinema also le
peut] toucher du doigt le p
naissance et s'est mis à se f
The images of her visit to
and her own place in its
photographic rifle are "des
inferior to the "strobosco
manages to achieve using he
but notice that cinematic
animals) and that what ma
concept has been developed
2. "Je [me sers de ce mot] pour in
tourné, les acteurs sont bien cho
rythme du tournage et du montag
pas, types de mots, fréquences des
contrariant, etc." (Varda 1994:14).
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118 Agnès Calatayud
Rue Daguerre, her home and t
cinécriture in the "Journey to J
"Ce film [...] est né [...] du d
Very early on in the film, Vard
amused her to see it appear on
make fun of these so-called te
little oval mirror which she h
"Look very carefully, the gl
photograph on it earlier, we're
us. She had thrust her face in
reflected back, there appeared
The effect was more disturbin
the face of the real Varda? Wa
things?
According to Hélène Cixous, "[t]he other in all his or her forms gives me I. It is on
the occasion of the other that I catch sight of me. [...] It is the other who makes my
portrait" (Cixous 13). These two "miroirs indisciplinés" (Jourde and Tortonese 177)
enabled Varda, from the beginning of Les glaneurs et la glaneuse, to let some doubt
creep into the mind of the viewer, to cause them to question what they are seeing. The
image of her fragmented face, the reflection she is unable to seize hold of and which
motivates her search, provokes the unspoken question: "Who is this other that makes
me?" The answer can be found at the end of the "Journey to Japan" sequence: "Je suis
une bête que je ne connais pas." Ageing becomes an ally because, according to Serge
Daney, growing old is "devenir un autre pour soi-même."
The sequence of her journey to Japan constitutes a film within a film in Les glaneurs
et la glaneuse and is a summary of all the roles Varda has taken in this film (angel,
master of ceremonies, film-maker/gleaner...). It also summarises the roles which we
ascribe to her reputation, her good name. Who is she when she is not travelling, in other
words, when she is not making films? Unlike Jane Birkin (actress) who assumes a variety
of outfits, Varda, as an actress playing herself and as a director, does not have to resort to
artifice. Paradoxically it is this "nudity" which creates an enigma.
Dans le dictionnaire, « glaner » au figuré se dit des choses de l'esprit : glaner
des faits, glaner des faits et gestes, glaner des informations. Pour moi qui n'ai
pas beaucoup de mémoire, quand on revient de voyage c'est ce qu'on a glané
qui résume tout le voyage. Quand je suis revenue du Japon, j'avais glané des
souvenirs dans ma valise. (Voice-over)
A "souvenir" denotes the kind of merchandise, such as postcards or knick-knacks,
designed for tourists so that they can show them off when they come back from their
holiday. Returning from her journey to Japan (timeless, and off-camera because we never
see her leave France), Varda "empties her bag." Watched by the camera, she digs out a
bundle of papers from a side compartment of her small red suitcase and carelessly piles
them in a bundle on a table in her flat. Then, in the twilight, she painstakingly goes
through and makes a list of them all. She literally films her souvenirs just as she filmed
those of Jacques Demy in Jacquot de Nantes and just as in Sans toit ni loi she described,
starting at the end rather than the beginning, the journey which led to Mona' s death. The
fact that the destination of this "journey in the imagination" is Japan is a special effect, a
sort of "doctoring" which enables us to understand better the way in which every journey
we make causes us to question things:
Le ressort du voyage [est] de se « refaire », de produire quelque chose d'autre
que soi où l'on puisse se reconnaître, se méconnaître, à travers quoi on puisse
fuir l'horreur de soi [...]. [Il] révèle [au voyageur] sa propre étrangeté, [...] son
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Agnès Varda 119
malêtre, [...] son désir d
sur place. (Sibony 302-03
For someone from the We
Western tourist is confronte
lost his/her bearings. The
everything is something e
tremblements. Such is the title of one of Amélie Nothomb's books, in which she
describes the fear felt by Japanese in front of the Emperor. The journey therefore leads us
to question everything we had previously taken for granted.
In Les glaneurs et la glaneuse, to accentuate the disorientation, this return from "a
lengthy journey" (referring either to the making of the film or simply to life's journey),
Varda can barely find the key to her front door as if she were trying to gain entry to some
foreign land. This sequence is an aside whose length, and the way it is produced - the
house is plunged into darkness which is redolent of Varda' s absence from it - tells us that
this is something more than a mere return from a journey; it is the only "return" that we
see in the film and we realise that this is a return which she is making about herself, about
the distinction between her private and public life, about her cinécriture. Just like Juliette
going into Père Jules* cabin in L' Atalante by Jean Vigo (1934), the spectator has
embarked on a "voyage dans la mémoire d'un autre, en chemin avec lui. Revivant un
autre temps" (Varda 1994:207):
Je rentre à la maison, les chats sont là, il y a du courrier, une plante a séché, les
autres pas. (Voice-over)
As this quotation shows, from the moment Varda opens the door to her house, she makes
a mental inventory of its contents. She "checks to see what kind of state it's in,"
comparing its present condition with how she remembered it when she set out on her
travels. It is also a way of assessing the difference between two films, to compare their
themes and treatment. Varda has already tackled the theme of the gleaners, or poverty, in
her other films; how does this latest film differ from the rest of her work?
Her journey towards a new understanding of herself leads her to a frame hanging on
a wall containing the black and white photograph of two children, a boy and a girl. Who
are they? Do they share a family likeness? She tries with difficulty to film their faces and
her own simultaneously and to get them into the same picture. This produces a series of
images similar to the contact-sheet effect in Varda par Agnès, a photomontage on the life
of the novelist Elsa Triolet (Varda 1994:85). On the photo, the frame is above Varda's
head like a cartoon bubble containing someone's thoughts. She cannot forget these two
children; they are her base. The children seem from their photograph as though they had
been looking after the house in Varda's absence. She returns to them to check whether
they are there, as if their disappearance would automatically bring about her own. Their
presence guarantees hers, and because of it she is free to travel again.
This journey has brought us to her "workshop." Her little red case is the equivalent
of the little digital camera packed full of images. The moment she opens her case, our
eyes immediately take in the map of a Japanese town, deliberately left on top of all her
things so that it is quite obvious. This "walking map," like the maps at the beginning of
some of Raoul Walsh's films, defines the territory and predicts the mental journey we
will be making as we see go past our eyes all the souvenirs that have been gleaned in
Japan. But, as we will soon notice, it is not only souvenirs from Japan that she has in her
luggage but others which, as they become increasingly intimate, emerge from deeper and
deeper layers of her memory. The map of Tokyo serves as a "dépliant à la mémoire"
(Sibony 306) and works in the same way as lmmemory, the CD-ROM by Chris Marker,
which he describes in this way:
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1 20 Agnès Calatayud
Toute mémoire un peu long
photos prises apparemmen
l'humeur du moment, à partir
un itinéraire, à cartographier
En le parcourant systémati
désordre de mon imagerie ca
We should remember Des Esse
travelled to London while rema
bougeant point, les sensations r
et ce plaisir du déplacement q
jamais dans le présent, à la mi
l'aise, sans fatigue, sans tracas
see a couple of images or som
journey. Each of those images o
able to "breathe in deeply" and s
Having displayed them first of
in front of us; brightly coloure
depicting a sumo wrestler, mou
famous portraits of actresses
Japanese- on the cover we man
Philippe, an allusion to her beg
film festival which shows us t
kind of retrospective of her
Martineau's Jeanne et le garç
photograph we can see, has the
way of recalling Jacques Demy
The wedding ring she wears, wh
of Demy. In addition, there a
highlight how strange it is to
language as mysterious as Japa
signes, Roland Barthes points out
Japanese newspaper Kobe Shin
"« japonisé », les yeux élongés,
Had Varda' s photograph undergo
The last items Varda unpacks ar
they have been taken in a photo
she has adopted on photograph
years or so; her smiling face an
shows her without the camera,
Varda are in circulation througho
including, for example, one in
head and shoulders shots, neutra
Japanese or English, and can m
Birkin the story of the death m
was found drowned in the 1930s. She asks herself:
Je me demande si le seul vrai portrait n'est pas le masque mortuaire [...] un
visage immobile, de face. C'est ce qui reste d'une personne [...] ou une photo
d'identité, toujours immobile, toujours de face. (Jane B. par Agnès V.)
By comparison, the self-portrait has all the characteristics of a "false portrait." The
artist is constantly shifting about, compartmentalises his physical and mental selves and
seems elusive; this is because he is a living being, and it is his life-force, its energy and
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Agnès Varda 121
creative force, which is ca
which his physical self is co
As if she were at an edit
objects - what artist Louis
face - where is she to put
whom should she give it? T
chance to all the images she
as on the altarpiece of Le
parallel between gleaning
what has been salvaged. T
Bogdan Budinski's totem p
gleaned grapes, or a picture
materials which have been s
Tout ce qu'on voit autou
les gens c'est un tas de s
possibles. Je me rends c
sa tête et dans ce qui est
infinies, pour moi ce son
avec ces traits. C'est des
At the end of this sequen
vieille" (Varda 2000a:30). Sh
Alors c'est ça qui est fo
avait des Rembrandt [...
ça mon projet, filmer d
trouve cela extraordinai
suis une bête que je ne c
c'est la même chose en fa
Etienne- Jules Marey mad
film, Varda twists her own
looking at the bones of an
now covered in brown ag
cimetière" (Varda 2000b).
covered in tiny snakeskin-l
potatoes that she piles up a
more and more translucen
three close-ups of her hand
beach on the island of Noir
la texture même de l'homm
very words spoken in Docu
Mathieu Demy) to his mot
order to find furniture fo
bêtes. Pas des bêtes qu'on
pas, les bêtes qu'on ne vo
The animal represents wha
acteur documentaire, by d
Leboutte, one of the org
Marseille, reminds us:
L'auteur- acteur docume
centre de son film, cœu
d'identification. Certes,
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1 22 Agnès Calatayud
d'abord comme énigme, com
élucidée, interférant dans le
personnage, quitte à brouiller
(Leboutte)
In Persévérance, Serge Daney says to Serge Toubiana: "II y a un moment -
appelons ça vieillir, mourir - où il vaut mieux regarder dans le rétroviseur." It is this
mirror which Varda uses in Les glaneurs et la glaneuse. She concludes her film with the
word "plaisir"; it sums up all the impressions she has gleaned throughout her quest. At
the Musée de Villefranche-sur-Saône, in the last images of the film, she unearths at the
bottom of a storage shed a picture painted by Hédouin of women gleaning: "Les voir à la
lumière du jour et sentir le vent d'avant 1* orage faire bouger la toile a été un vrai plaisir,"
she says. That breath of wind makes the picture come alive. Even if Varda herself cannot
be defined - after all, she loathes all that is definitive - and even if the portrait of her that
has been hinted at in Les glaneurs et la glaneuse is far from being the real Varda,
nevertheless the film enables its viewers to experience the sensation of feeling her breath
and touching her skin.
Birkbeck College, University of London
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