Agnès Varda in Les Glaneurs et La Glaneuse (The Gleaners and I)

France, 2000

Courtesy Zeitgeist Films / Everett Collection Inc. / Alamy

Object On display

Documentarians develop camera techniques to access, interpret and compose notions of truth. Dziga Vertov’s kino-pravda (“film truth”) concept was premised on the camera’s ability to reveal truth. In the 1960s, it inspired the development of both cinéma vérité (“truthful cinema”) and direct cinema, which informed Albert and David Maysles’ intimate ‘fly-on-the-wall’ style and Agnès Varda’s use of a handheld camera to create a portrait of society and herself.

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Collection

Not in ACMI's collection

On display until

16 February 2031

ACMI: Gallery 1

Credits

creator

Maker not documented

Production places
France
Production dates
2000

Collection metadata

ACMI Identifier

P180637

Curatorial section

The Story of the Moving Image → Moving Minds → MM-02. Documentary 1 → MM-02-C01

Object Types

2D Object

Exhibition Prop

Photographic print/Pictorial

Materials

Graphic

Collected

42 times

Cite this work on Wikipedia

If you would like to cite this item, please use the following template: {{cite web |url=https://acmi.net.au/works/107538--graphic-agnes-varda-with-her-camcorder-in-the-gleaners-and-i-france-2000/ |title=Agnès Varda in Les Glaneurs et La Glaneuse (The Gleaners and I) |author=Australian Centre for the Moving Image |access-date=7 August 2026 |publisher=Australian Centre for the Moving Image}}