The New Yorkerのインスタグラム(newyorkermag) - 7月24日 06時30分

The French filmmaker Agnès Varda’s first feature, an ultra-low-budget indie called “La Pointe Courte,” should have launched a cinematic revolution, “but neither the public nor her peers were yet ready to follow her lead,” Richard Brody writes. Yet the genesis of “La Pointe Courte” is as noteteworthy as the film itself, with the story of its creation on display in “La Pointe Courte, from Photographs to Film,” an exhibition of Varda’s photographs from the late 1940s and early ’50s, currently on display at the Rencontres d’Arles, an international photography festival. The photos, like the film, are set in a fishing village on a saltwater lagoon, and the resulting images offer vivid portraits of residents, as well as the natural substances that make up the aesthetic and emotional effect of Varda’s work. Tap the link in our bio to see more photographs from the exhibition. Photograph courtesy of the estate of Agnès Varda / Agnès Varda Photographic Archives / Institut pour la Photographie des Hauts-de-France.

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