Özet:

Agnès Varda’s Les Glaneurs et la glaneuse (A(r)Tick Collectors and I, 2000) documentary’s one distinctive characteristic is that it increases the life of the audience during and after the film’s course (after leaving the cinema and remembering the film in advanced times). In this text, we will discuss the three sources that can be revealed in the audience of the documentary that increases the vitality. These are, respectively, the positioning of Varda in this documentary as a "image-collective female filmmaker"; the founding qualities of the way she has developed throughout her life and called it cinécriture; and finally, the original relationships she established with the film's subjects and showers. In this documentary he designed as a road film, Varda remains open to meetings and dialogue. He reviews himself in his encounter with every social actor; he flows through the stories of the social actor he encountered, his own body, his thoughts, his feelings. He goes along with the artists he produces; he gives them a place to make the film of the social actors he enters the dialogue in the meetings; he leaves intervals for the audience to enter the film; he creates the film by turning himself into self-thinking. With his expressions of his feelings and the images of his body in this film, Varda reviews his thoughts about the flow of life, the devastating effect of time, the arrival of death.