![Leaked: Elon Musk’s Jet Playbook—65°, Dim Lights, No Vents—And Full Throttle, Always [Roundup]](https://viewfromthewing.com/wp-content/uploads/2017/07/20170726_084344.jpg?#)
![‘I’ve Got 8 Chickens at Home Counting on Me’—Delta Pilot Calms Nervous Cabin With Bizarre Safety Promise [Roundup]](https://viewfromthewing.com/wp-content/uploads/2025/04/delta-cabin.jpg?#)
2 or 3 Things I Know About Demy
Written for a retrospective catalog devoted to Jacques Demy, published by the San Sebastian International Film Festival, September 15-24, 2011, and reprinted in my book Cinematic Encounters 2: Portraits and Polemics (2019). — J.R. “Braque, Picasso, Klee, Miro, Matisse….C’est ça, la vie.”–- Maxence in Les Demoiselles de Rochefort “Life is disappointing, isn’t it?” –- Kyoko in Tokyo Story 1 I’ve never come across any critical discussion of common traits in the separate films of Jacques Demy and Agnès Varda, who lived together for three decades. Their oeuvres are in fact quite different and distinct from one another, but one striking characteristic they share as filmmakers is their preoccupation with indexing and cross-referencing their own works within their own films. In chronicling and excerpting her own previous work, Varda’s Les Plages d’Agnès (2008) brings this tendency to a climax, but her DVD containing Les Glaneurs et la Glaneuse (2000) and its sequel, Deux Ans Après, already formalizes and optimizes this tendency — which can be traced within and between some of her previous films — by allowing one to leap via one’s remote control from a character in the former documentary to the same person being filmed two years later (or vice versa). Read more
Written for a retrospective catalog devoted to Jacques Demy, published by the San Sebastian International Film Festival, September 15-24, 2011, and reprinted in my book Cinematic Encounters 2: Portraits and Polemics (2019). — J.R.
“Braque, Picasso, Klee, Miro, Matisse….C’est ça, la vie.”–- Maxence in Les Demoiselles de Rochefort
“Life is disappointing, isn’t it?”
–- Kyoko in Tokyo Story
1
I’ve never come across any critical discussion of common traits in the separate films of Jacques Demy and Agnès Varda, who lived together for three decades. Their oeuvres are in fact quite different and distinct from one another, but one striking characteristic they share as filmmakers is their preoccupation with indexing and cross-referencing their own works within their own films.
In chronicling and excerpting her own previous work, Varda’s Les Plages d’Agnès (2008) brings this tendency to a climax, but her DVD containing Les Glaneurs et la Glaneuse (2000) and its sequel, Deux Ans Après, already formalizes and optimizes this tendency — which can be traced within and between some of her previous films — by allowing one to leap via one’s remote control from a character in the former documentary to the same person being filmed two years later (or vice versa). Read more
