« Sans toit ni loi est un chef-d’œuvre qui n’a pas volé son Lion d’or au dernier Festival de Venise. There is a tendency in the criticism of this film to stress the negative, uninvited element of Mona’s character at the expense of her role as a positive initiator of relationships, as for example in Laurent Decherey’s treatment of the film: She is worn out, with no rights and no obligations. [21], Even in her death she denies us the neat hermeneutic closure we as viewers tend to expect: “Mona’s death does not transform her life into destiny. What Yolande keeps clean is the inside of people’s houses, the place where socialising happens, where property is accumulated, and Mona is excluded from the clean centre of things to the dirty and lonely exterior. [19] Barbara Quart and Agnès Varda, “Agnès Varda: A Conversation”, Film Quarterly 40:2 (1986-1987), 9. [3] Melissa Anderson, “The Modest Gesture of the Filmmaker: An Interview with Agnes Varda”, Cinéaste 26:4 (2001), 24-27. See http://www.cnrtl.fr/definition/furet. As Laurent Dechery describes it, law in this context “is what ties the individual to the collective”, whereas Mona “has no rights and no obligations”.[1]. Sans toit ni loiest l’un des films sur lesquels Agnès Varda s’est le plus exprimée, en livrant des éléments de son cheminement créatif et de sa réalisation au fil de nombreux entretiens, ou en confiant un extrait de carnet de tournage à un numéro des Cahiers du cinéma(n°378, décembre 1985). Then of course there is the generalized parasitism in which all the characters take from the land and its produce, in just the same way that Mona is parasitic on society. Then there’s the sense drawn from parasitology, the parasite which can even be a microbe, from the single cell creature to the insect, and which feeds on a host. She is also the quasi-object who, precisely in her very refusal to participate in the relational and economic circulation of society, brings into being the individuals and communities that take it upon themselves to define her and, in so doing, reveal themselves to us. For Chambers: “Mona parts company with loiterature, which is overwhelmingly a first-person genre. She is not a player with a stake in the game. [24] In French the ‘jeu du furet’ (literally ‘game of the ferret’), in which one player, in the centre of a circle of other players, has to discover an object that is being passed quickly from hand to hand, generally on a string. Dirt, once more like Bartleby’s “I would prefer not to”, is a gesture of resistance, a refusal to enter the smooth circulation of bodies and capital that characterises the society Mona has rejected ever since she quit her secretarial job. Sans toit ni loi : Retour sur le plus grand succès d'Agnès Varda Agnès Varda est décédée dans la nuit du jeudi 28 au vendredi 29 mars. [15] Barbara Quart and Agnès Varda, “Agnès Varda: A Conversation”, Film Quarterly 40:2 (1986-1987), 6. The 1985 Vagabond (Sans toit ni loi), which you have now all seen. The ball is the sun around which the players orbit: The ball is played, and the teams place themselves in relation to it, not vice versa. There is me”). Laisse passer la vie. La puanteur de Mona est surtout évoquée par les commentaires des témoins et leurs réactions corporelles. Women film-makers In: . And lest we think that we, the viewers, are exempt from the way in which Mona reveals people, Laurent Decherey notes how we are inexorably drawn into the same dynamic: So Mona becomes our personal and social unconscious. Elle survit énergiquement malgré la faim, la soif, le froid et le manque de cigarettes et d'herbe. OU COMMENT ACCUEILLIR UNE BALEINE EN PEINTURE Dans un poème récent, Cynthia Girard- Renard imagine un monde post- apocalyptique où l’on se promène en licorne dans les rues de Montréal, où les mamans bélugas siègent au parlement à Québec, où toutes les maisons de la province sont recouvertes de papillons monarques. - 1 citations - Référence citations - Citations Sans toit ni loi - Scénario du film Sélection de 1 citation et proverbe sur le thème Sans toit ni loi - Scénario du film Découvrez un dicton, une parole, un bon mot, un proverbe, une citation ou phrase Sans toit ni loi - Scénario du film issus de livres, discours ou entretiens. Mona’s stench is primarily evoked by the remarks of those who meet her, along with their physical reactions to her. It’s about what it is to be so much in the “no” situation—she says no all the time—and I don’t know why she ended up on the road and saying no.[11]. [1] Laurent Dechery, “Autour de Mona dans Sans toit ni loi d’Agnès Varda”, The French Review 79:1 (2005) 139. There are also strong parallels between the genre of the two films. [17] Mariah Devereux Herbeck, Wandering Women in French Film and Literature: A Study of Narrative Drift (Basingstoke: Palgrave Macmillan, 2013) 130. The way in which she has stepped away from society and become invisible to those within it is also brilliantly reflected in the way the film is shot, especially in its many tracking shots. Sandrine Bonnaire y interprète le rôle principal, celui d'une jeune femme sans abri trouvée morte. In a 2001 interview, Varda reflects on her intentions for Cléo and Sans toit: In Cléo from 5 to 7, which is a fiction film, when Cléo [Corinne Marchand] is in the street and starts to look at other people, I had to have a texture of documentary so that we would believe what she sees in the street—such as the man swallowing frogs. Sans toit ni loi est un film dramatique français réalisé par Agnès Varda et sorti en 1985. Sans toit ni loi - Scénario du film. Sans toit ni loi picks up where that film ended in terms of the path followed by the main female character. It also puns on sans toi ("without you"). C’est le froid qui la vaincra. sans feu ni lieu; ne craindre ni Dieu ni diable We learn that she used to have a job in “steno-dactylo”, taking dictation. This is the most important principle of the parasite for Serres, that it is a disruption to a relation that is nevertheless the essence of relation; and so a disruption to a system that is itself system forming. Un autre routard, une domestique, un berger philosophe, un tailleur de vignes tunisien, une « platanologue », un garagiste et une vieille dame. In this, she functions as Serres’s parasitic static or noise that both carries and impedes a message: Noise is what impedes relation, what arises or comes between communicants. As Mona herself says to the soixante-huitard goatherd, for her “seule, c’est bien” (“Alone is good”). She refuses to give back to us in a reciprocal relationship: She is not presented to us as a figure evoking great pathos, pulling on our viewerly heart-strings. And I think the big nothing in the middle of Mona is important. “Chapter III. This the second of four undergraduate lectures in which I explore how the thought of Michel Serres can inform film studies. Finally, Mona’s death is as a direct result of her being an outsider. But I asked them to say my words, so it still is written; it’s not improvised at all. [10] Barbara Quart and Agnès Varda, “Agnès Varda: a conversation”, Film Quarterly 40:2 (1986-1987) 3. [ 7.3 ] Une jeune fille errante est trouvée morte de froid : c'est un fait d'hiver. So Mona resists interpretation, but makes interpretation possible; she reveals everyone else, but keeps herself hidden. When, towards the end of the film, she is attacked by the “tree people” and dunked in a bath of wine, it is her inability to read the situation as a local festival, and her subsequent extreme, panicked reaction, that frame her as a foreigner to the village, as someone who does not belong and who is expelled. Available at http://epublications.bond.edu.au/french_philosophers/4/. 2 Quels sont les éléments qui reviennent dans les différentes affiches ? She is, more than anything else, a mystery, and that’s as it should be. It was brought to the region, or so it is thought, by U.S. soldiers in the Second World War (@49.54). She is the element that is not part of the system, but that nevertheless makes the system of relationships in the film. We leave Cléo as she begins to resist conforming to the expectations of others, but when we meet Mona she has travelled a lot, lot further down that road. It generally has a pejorative connotation. La dernière modification de cette page a été faite le 9 décembre 2020 à 23:35. I’ve been trying all my life to put into fictional films the texture of documentary. Describe him in five words or fewer, French Philosophy Today: Summary of Chapter 1 – Badiou, A table showing who is part of the new materialism, and an argument as to why it is not a “turn”, Translation from Michel Serres’s thesis on Leibniz: “we must enrich our models of thinking which are, generally speaking, lamentably poor”, The boys who break into the empty house and steal, discussing theft as a sort of parasitism that takes without giving, outside economic conventions (@19.39), Yolande, who climbs into the house uninvited (@20.54), Jean-Pierre, the old lady’s nephew (@1.23.50). It is like a tracker of the relations in the fluctuating collectivity around it. The film’s title is a riff on the phrase “sans foi ni loi” (“neither faith nor law”), an idiomatic way of describing someone who does not conform to social expectations but lives life according to their own rules. [5] https://www.nebraskapress.unl.edu/university-of-nebraska-press/9780803263925/, [6] Serres, Michel, and Raoul Mortley. comment. As a catalyst, as the surface on which people can project and explore their interpretations and that forces them to react with each other, Mona is a positive character: she reveals people to themselves and to us, and brings them together. Plus le corps propre est sale, plus la niche est breneuse, plus la personne est attachée à sa propriété. The Greatest Films of All Time 2012. In both cases, at the end of each tracking shot the camera rests on any number of diverse objects ranging from a tractor to an old tire on a street sign. Varda, A. But, since all relation will involve a kind of impedance, just like every electrical current, noise is also necessary to every relation. I did not want to know everything there was to know about Mona. In a 1986 interview, Varda voices this unease, this frustration with Mona: And how do we respond to such a person? [4] Ross Chambers, Loiterature (Lincoln, NE: University of Nebraska Press, 1999). C’est un simple fait divers. My hope is that they can be a stimulation to scholars of film studies and scholars of Serres’s thought alike. Moreover, it is a substance “that precipitates a process or event, especially without being involved in or changed by the consequences.”[17], As a catalyst Mona is active, she manipulates the other characters in the film, and what their testimonies about her show, crucially, is that Mona has changed them.[18]. The result is covert social criticism that casts doubt on the values good citizens hold dear—values like discipline, organization, productivity, and, above all, work.[5]. Lawrence R. Schehr (Baltimore: The Johns Hopkins University Press, 1982) 145. The original French title, Sans toit ni loi ("With neither shelter nor law"), is a play on a common French idiom, "Sans foi ni loi", meaning "With neither faith nor law". The most obvious parasite in the film is ceratocystis fimbriata, the disease that afflicts the plane trees and that is described (@49.10) as “a fungus that’s like a cancer”. Sans toit ni loi streaming vf. I’ve not judged her in the film, so I hope the viewers will have their own feelings about her, just as the witnesses do. We, too, parasitize her too because we try to make sense of her life and death, try to interpret her resistance to interpretation—which is exactly what I am doing in this lecture at the moment. Finally, smell is represented by the metaphorical value of an image or an action that makes us think of another sense. However, the narrative arc of both protagonists is ultimately sombre: it is likely that Cléo will die from the disease she is harbouring, the parasite inside of her, and Mona does die though, as we shall see, in her case she herself is the parasite. Sans toit ni loi Agnès Varda - France - 1985 - 1h45 - couleurs Agnès Varda a réalisé Sans toit ni loi en 1985, après une longue période de repérages dans le sud de la France, pendant laquelle elle a choisi ses décors mais aussi a rencontré des vagabonds qui l’ont inspirée pour … She is rarely in the beginning of the tracking shot and she is rarely at the end [… ] It’s funny, even once she is dead, she’s still walking, even when she stops, she is walking”.[12]. [2] Ruth A. Hottell, “Flying through southern France: Sans toit ni loi by Agnès Varda”, Women’s Studies 28:6 (1999) 684. Etait-ce une mort naturelle ? The investigators, just like everyone else, want to inscribe her in a story; domesticate her. With the juxtaposition of the presence of soldiers and the evocation of cancer, how can we not think once more of Cléo? France: MK2 Diffusion. To be sure, Mona does not herself inscribe, but she is not simply the object of others’ inscription either. Même importance accordée à l’instant, au rapport furtif entre les êtres, à l’errance (physique chez Varda, psychique chez Sarraute). Roxane Lapidus (Ann Arbor: University of Michigan Press, 1995) 108. This week we continue our exploration of how the thought of Michel Serres can generate interesting and productive readings of films. As she passes from one location and from one relationship to another she weaves communities out of previously unrelated individuals. The host is clean; the parasite is dirty; I mean that it is only clean for itself.[7]. (Realisatrice). » Laurent Decherey, “Autour de Mona dans Sans toit ni loi d’Agnès Varda”, The French Review 79:1 (2005) 139. Alors que la plupart des réfugiés fuient des guerres, les médias commencent de plus en plus à parler d’une nouvelle catégorie de migrants : The more the body is dirty, the more the niche is soiled with feces, the more the person is attached to his property. We, as do the witnesses, the people she meets in the course of her wanderings, will respond to someone like Mona in a variety of ways. There are also, however, parallels between Cléo and Mona that would lead us to think of them not as consecutive but as parallel. Varda makes the point about the characters in the film parasitizing Mona with their words in an interview with Marie-Claire Barnet and Shirley Jordan: AV: The portrait of Mona is made by people speaking about her. Topics culture. … There are also: So—just as Michel Serres says in Le Parasite—parasitism in Sans toit ni loi is not an isolated phenomenon but a general condition of existence: before we are anything else, we are all parasites first. Vianney Schlegel, « Pierre-Édouard Weill, Sans toit ni loi ? This understanding of Mona as quasi-object allows us to bring out a further layer of complexity in Ross Chambers’ argument in Loiterature. We have all these social ideas that we should have night shelters, Salvation Army, welfare, charity, to help out other people, but we don’t know what to do when people don’t want to be helped. As well as the film’s title, Mona’s name is also rich with meaning. This multifaceted notion proves to be an illuminating lens through which to focus Varda’s film, because—as I argued last week for topological space and time in relation to Cléo—it helps us to think about more than just Mona’s character, and to bring together multiple elements of the film which otherwise might be treated separately. [Drame] -. [14] Marie-Claire Barnet, Shirley Jordan, “Interviews with Agnès Varda and Valérie Mréjen”, L’Esprit Créateur 51:1 (2011), 188. [21] Agnès Varda and Rob Edelman, “Travelling a Different Route: An Interview with Agnès Varda”, Cinéaste 15:1 (1986), 21.
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