Discussion of the Film Vagabonde by Agnes Varda

Vagabonde possesses many themes which when viewed on the surface are near invisible. However, when a closer post-mortem fashion of analysis is adopted they curtly become clear and more distinguished. The themes included in this movie theatre are Mystery, Jealousy, aloneness, Independence and ultimately, Tragedy. We check the themes develop in reckon of us individually as the aim progresses, still as the viewer, we only become awake of the super-structure by the end of the shoot down. We cognise from the start that ultimately the travel ends in tragedy further are curious as to why this woman is fraud dead in a ditch.\n\nThe two themes: Tragedy and Mystery, perplex together in the film. The film opens with an see to it of a boylike girl be in a ditch cover in mud. This image is visually shocking and instantly provokes a response from the viewer. The reaction must vary from soulfulness to person but ultimately it creates specialness and sympathy. The director i nvites the audience to go in in uncovering of the whodunit surrounding the life of a dead woman. On the surface, Vagabonde is a deceptively simple story. The film opens with the image of a frosty female corpse and a narrator (Varda) tells the audience that what follows are interviews with the people who knew her in the break weeks of her life. Through interviews and flashbacks the viewer learns how this boylike woman ended up in a ditch, but not why she started her cave dweller journey. The films main concern is the reaction of people to the drifter, not her psychology. Varda uses another(prenominal) peoples memories to construct an image of the drifter. Loneliness is communicated instantly by the gauzy fact that this woman is lying alone with no possessions in a small resolution and no one knows her. If she was a resident she would be recognize and if she was from a family out of town, thence surely she would have slightly belongings with her. It is Vardas aspiration to portray this tragic image of isolation. The structure of the film is support by the way in which the story develops, i.e. through a series of interviews and documentary pillowcase monologues.\n\nFrom the outset, Varda establishes that she is using the accounts of witnesses to build a portrait of Mona, but as the film progresses it becomes evident that these interviews uncover more...If you want to get a full essay, order it on our website:

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