Agnès Varda

Black Panthers

Black Panthers

Agnès Varda turns her camera on an Oakland demonstration against the imprisonment of activist and Black Panthers cofounder Huey P. Newton. In addition to evincing Varda’s fascination with her adopted surroundings and her empathy, this perceptive short is also a powerful political statement.

Film Info

  • Agnès Varda
  • France, United States
  • 1968
  • 28 minutes
  • Color
  • 1.37:1
  • English

Available In

Collector's Set

Eclipse Series 43: Agnès Varda in California

Agnès Varda in California

DVD Box Set

3 Discs

$35.96

Black Panthers
Credits
Director
Agnès Varda
Written by
Agnès Varda
Camera
David Myers
Camera
Paul Aratow
Camera
John Shofill
Camera
Agnès Varda
Camera assistant
Tom Luddy
Sound
Paul Oppenheim
Sound
James Steward
Editing
Paddy Monk

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Explore

Agnès Varda

Writer, Director

The only female director of the French New Wave, Agnès Varda has been called both the movement’s mother and its grandmother. The fact that some have felt the need to assign her a specifically feminine role, and the confusion over how to characterize that role, speak to just how unique her place in this hallowed cinematic movement—defined by such decidedly masculine artists as Jean-Luc Godard and François Truffaut—is. Varda not only made films during the nouvelle vague, she helped inspire it. Her self-funded debut, the fiction-documentary hybrid 1956’s La Pointe Courte is often considered the unofficial first New Wave film; when she made it, she had no professional cinema training (her early work included painting, sculpting, and photojournalism). Though not widely seen, the film got her commissions to make several documentaries in the late fifties. In 1962, she released the seminal nouvelle vague film Cléo from 5 to 7; a bold character study that avoids psychologizing, it announced her official arrival. Over the coming decades, Varda became a force in art cinema, conceiving many of her films as political and feminist statements, and using a radical objectivity to create her unforgettable characters. She describes her style as cinécriture (writing on film), and it can be seen in formally audacious fictions like Le bonheur and Vagabond as well as more ragged and revealing autobiographical documentaries like The Gleaners and I and The Beaches of Agnès.