It’s the warping, re-signifying logic of affect and memory that architected this list.
One city, one day. That Aristotelian unity is an alluring structure for a film.
The film may make you wonder how much Gus Van Sant was thinking about Vagabond when he made Last Days.
After AMPAS finally threw a first-ever nomination at Werner Herzog two years ago, we thought they might similarly give props to Agnès Varda this year.
Varda turns the camera on herself and her own life, even though she convincingly posits that she’s much more interested in other people.
The film isn’t the prototypical feminist classic chronicling a woman’s journey from submissiveness to assertiveness.