در بخش The Review وبسایت تیف (جشنوارهی فیلم تورنتو)، مقالهی کوتاهی نوشتهام دربارهی «وحشت، کمال و سیالیت» در فیلمهای آنیس واردای بزرگ و شگفتانگیز.
Where perfection is rigid, Varda’s way of looking at life is fluid. The aged hands that were a source of horror in The Gleaners and I become a thing of joy later in the film, when Varda uses her fingers to lightheartedly “frame” passing trucks on the highway. (“[Do I do this] to retain things before they pass? No, just to play,” she says.) Varda captures people’s faces to reveal their wrinkles, their flaws and insecurities, their sadnesses and their joys, their intriguing imperfections. In Gleaners, Varda gleans a batch of heart-shaped potatoes from a field, takes them home, and later makes an installation out of them — a symbolic gesture of how one can extract love and beauty from misshapen, imperfect things.
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