The film tracks a series of gleaners as they hunt for food, knicknacks, and personal connection. Varda travels French countryside and city to find and film not only field gleaners, but also urban gleaners and those connected to gleaners, including a wealthy restaurant owner whose ancestors were gleaners. The film spends time capturing the many aspects of gleaning and the many people who glean to survive. One such person is the teacher named Alain, an urban gleaner with a master's degree who teaches French to immigrants. Varda's other subjects include artists who incorporate recycled materials into their work, symbols she discovers during her filming (including a clock without hands and a heart-shaped potato), and the French law regarding gleaning. Varda also spends time with Louis Pons, who explains how junk is a "cluster of possibilities".IMDb, Wikipedia, Ebert review, Amy Taubin review ("A woman in her early seventies working in a profession that is as youth-oriented and male-dominated as when her first feature, Cléo From 5 to 7 (1962), made her the only female director of the New Wave, Varda is in some ways as marginal as most of her subjects. "I have the feeling that I'm an animal," she comments over a close-up of her wrinkled hand, accidentally caught by her own camera. "Worse, an animal I do not know.")
Well that can't possibly be because didn't we determine yesterday that corporations destroying their leftovers is close to godliness?From my reading of that thread, it seems that most MeFites were firmly on the side of charity.
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posted by jessamyn at 9:27 AM on January 11, 2010