If I had to boil down my renewed interest in movies (going on 10 years at this point) to one thing, it would be the realization that the history of movies is broader than I ever imagined. There are so many movements and trends filtered back and forth across cultures and time periods it’s unlikely I could ever reach the end of movies. I think the best moments on Cinema Dual tend to be when Chris and I find a film that make one of both of us just a little too giddy to coherently talk about it. And while the recent(ish) trend of trying to assert the supreme importance of and unhealthy attachment to a particular work of art has exposed the bankruptcy of fandom in recent years, there’s nothing wrong with celebrating the joy in something you like.
One of my favourite cinematic surprises of 2020 was the documentary Dick Johnson is Dead. Director Kirsten Johnson, as a means of processing the deterioration of her father's health and eventual passing, sets up several mostly fantastical scenarios in which Dick might die. Dick himself seems game to have some fun, demonstrating the trust, respect and love the filmmaker and subject have for each other. The film is alternately silly and painful as you track Johnson’s emotional journey through the process. This brings us to the complicated relationship between Agnès Varda and Jacques Demy.
If I've found a recurring theme to the work of Agnès Varda, it would be a curious empathy. Over and over again, Varda’s ability to notice people on the margins of society results in interesting subject matter for her art. As it becomes increasingly clear we live in a world lacking in empathy, Varda’s artistic impulses end up benefitting humanity. Certainly, it’s hard to conceive of how they could betray her, especially as it relates to an “aging” actress.