There are many digressions from the subject of gleaning in The Gleaners and I, but they all come back to the idea of turning those discarded into something useful. On some occasions, "gleaners" may discover unexpected joy along the way. What Varda achieves by taking on digital filmmaking shares similar sentiment like the gleaners'. They all create unlimited possibilities through unwanted materials.
The flow of water sometimes resembles static noise on tv screen, the same also goes for their similar sounds. The relationship of water and electricity really sticks out when the film arrives at the city. You certainly can't have one without the other.
ps. The water bird shot blows my mind.
Many close-ups of conscience. Ann’s righteousness is contagious, not only is Joe under her spell (naturally, in film noir), she also gets under Pat’s skin. But the truth is, Pat always has her conscience hidden inside somewhere. Through series of aptly deployed voiceovers, we hear her inner struggle gradually intensified. Ultimately it leads to the best scene of the movie. Standing against both a ticking clock and a babbling lover, all she can think about is Ann, Ann, Ann!
Le Fort des fous is filled with moments of ingenuity in the first two parts, some of them are among my favorite images (scenes) of the year.
As for the final segment, at first I also feel frustrated at what Mari takes us. After some thoughts, I prefer to see it as a formal exercise of unfiltered honesty instead of treating it like DVD extra features. The dichotomy of opposite styles complement with each other. It does not necessarily need to be seen separately.