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Créée en 1954 sous le nom de Tamaris Films pour produire La Pointe courte, premier long-métrage d’Agnès Varda, film avant-coureur de la Nouvelle Vague, la société est devenue Ciné-Tamaris en 1975 pour produire Daguerréotypes et n’a plus cessé depuis ses activités de production, puis de distribution.
- Agnès Varda
Ciné-tamaris. L’univers de Ciné-tamaris; L’équipe; La bio...
- Jacques Demy
Ciné-tamaris 88 rue Daguerre 75014 Paris France Tel : + 33...
- Images en vrac
La plupart des photographies provient des archives de...
- L’univers de Ciné-tamaris
Créée en 1954 sous le nom de Tamaris Films pour produire La...
- L’équipe
L’univers de Ciné-tamaris; L’équipe; La bio d’Agnès; La bio...
- La bio d’Agnès
En 1954, 5 ans avant la nouvelle vague, alors sans aucune...
- La bio de Jacques
Jacques Demy a rencontré Agnès Varda en 1958. Ils ont élevé...
- Visages Villages 2017
Ciné-tamaris. L’univers de Ciné-tamaris; L’équipe; La bio...
- Agnès Varda
LE CINÉMA D’AGNÉS VARDA LONGS ET COURTS Paru le 3 octobre 2023, par Arte Editions et Ciné-Tamaris. 14 DVD / 11 longs métrages et 16 courts : l’intégrale de ses films de fiction, ses courts métrages et plus de 8 heures de bonus ! 60€ LES LONGS La Pointe…. lire la suite.
Créée en 1954 sous le nom de Tamaris Films pour produire La Pointe courte, premier long-métrage d’Agnès Varda, film avant-coureur de la Nouvelle Vague, la société est devenue Ciné-Tamaris en 1975 pour produire Daguerréotypes et n’a plus cessé depuis ses activités de production, puis de distribution.
Mar 29, 2019 · Richard Brody writes about the life and work of the filmmaker Agnès Varda, who died this week, at age ninety, and the legacy of her films such as “Faces Places,” “Cleo from 5 to 7 ...
- An Overview of Agnès Varda’s Career
- Cléo from 5 to 7
- Le Bonheur
- One Sings, The Other Doesn’T
- Documenteur: An Emotion Story
- Vagabond
- Jacquot de Nantes
- The Gleaners and I
- The Beaches of Agnès
- Faces Places
Agnès Varda (1928–2019) defied all expectations when she made her first film, La Pointe Courte, in 1955. Then 27, Varda, who had studied philosophy and art history, was building a career as a photographer when she wrote a script seemingly out of nowhere. She’d seen no more than 10 films at that point in her life, hadn’t studied filmmaking, and hadn...
Though only her second film, Cléo from 5 to 7is commonly considered Varda’s legacy-defining work. It’s about two transformative hours in the life of a Parisian singer, played by Corrine Marchand. At the beginning, she visits a tarot card reader who foretells her death. At the end she visits a doctor who diagnoses her cancer. As Varda explained in h...
This may be Varda’s most haunting film. François, a carpenter in his uncle’s shop, is married to Thérèse, a dressmaker. They have two children, a boy and a girl. It’s a lovely family. They exist in an idyllic, highly chromatic wash of harmony and domestic ritual, which includes weekend picnics in the country. Then François meets a beautiful postal ...
Set against the backdrop of the women’s movement in France, One Sings is about the friendship between two very different women. It transpires over the course of about fifteen years and includes more “plot” than Varda’s other films. The film opens in the early 1960s. Pauline, a privileged young woman, is awake to the disadvantages of being the secon...
Many of the murals in Varda’s documentary Mur Murs appear as a backdrop to Varda’s fictional film, Documenteur, which Varda made as a companion piece to Mur Murs (both films, however, stand on their own). In Varda par Agnès, Varda said Documenteurwas the story of introverted Los Angeles. Anyone who has struggled to make ends meet in a large city, w...
In nearly every film Varda made, she was preoccupied with the plight of outsiders, loners, and the disenfranchised. Usually, the serious subject matter was leavened by play, humor, a joie-de-vivre (even wacky) spirit of exploration and experimentation. Not so her story about Mona, an “enraged loner,” as Varda characterized her in Varda by Agnès. Th...
This tender film is a portrait of and love song to fellow filmmaker Jacques Demy, Varda’s dearly departed husband. While she was making it, he was ill (he died only a few weeks after she finished filming). It braids together three distinct narratives. One—what is arguably the dominant narrative—is a coming-of age tale, set against the backdrop of W...
One of the many interesting things Varda says in Varda by Agnès is that “Nothing is banal if you film people with empathy and love. If you find them extraordinary, as I did.” This deeply humane approach to her subjects is especially apparent in Varda’s documentaries. It’s the explicit point-of-view in The Gleaners and I, Varda’s incredibly moving f...
When Varda turned 80, she says she panicked. As a result, she looked back on her life and made this cinematic memoir. She’d begun revealing aspects of her own life in films and video installations beginning with The Gleaners and I. But in The Beaches of Agnèsshe actually made herself—or appeared to make herself—the central subject. If you’re anythi...
In this film, Varda and her co-director, JR, take a series of road trips around France. They want to shine the light on ordinary people. They do this by taking pictures of the people they meet, which they then blow up to paste on the facades of various community structures, including abandoned houses, the sides of shops and ships, barns, water towe...
Dec 20, 2019 · Courtesy Ciné-Tamaris The Gleaners and I (2000) Having made a box-office bomb with One Hundred and One Nights in 1995, Varda never returned to narrative filmmaking in the last part of her...
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Ciné-Tamaris [1] est une société française de production, de distribution. Elle diffuse notamment les films de Jacques Demy et Agnès Varda . Histoire et activités de la Société [ modifier | modifier le code ]
