leaving something behind
by Douglas Messerli
Agnès Varda (screenwriter and
director) Les Glaneurs et la Glaneuse
(The Gleaners and I) / 2000
Beginning with Jean François Millet’s painting of the same name, Varda, mostly alone, sometimes with a small crew, sets out to discover whether there are still gleaners today. Do people still gather up the wheat and crops left behind after a harvest? Although some former women gleaners—it was once an activity exclusive to women—claim that such behavior is a thing of the past, we soon discover that large groups of men and women, including poor farmers, gypsies, and urban dwellers, still do gather up potatoes, cabbages, figs, apples, and grapes (although such activity in the grape fields is sometimes policed), along with whatever else they find left to rot. In cities, the poor and sometimes ethically-minded individuals gather at the food markets as they close each day to grab up the numerous tossed leftovers.
Others, as we know, even in the US, are dumpster divers, mulling through
the trash near grocery stores and restaurants to pick out still edible foods.
At one such spot, Varda gathers together several street teens, a store manager
who has sprayed his dumpster with bleach, and a judge who has sentenced the
teens for vandalizing both store and dumpster after it was sprayed, trying to
explain to each the problems with their behavior. The teens needed the free
food, the store manager was outraged by the damage they did, and the judge was
simply following the law, each presenting reality from their own viewpoints
only.
In the wine country in Provence, we meet a vintner, Jean Laplanche, who
encourages gleaners to follow the grape harvesters, gathering up whatever is
left behind. The kindly Laplanche, we soon discover, is also a psychoanalyst
concentrating on theory.
Back in Paris Varda meets with an ethically-minded young man who gathers
food from dumpsters and markets simply to make a point of the society’s waste.
Elsewhere, an award-winning chef explains that he uses every part of the
animal, including bones for stock, and gleans his own herbs for the tables.
In a small town she speaks to a man who collects small objects and
furniture abandoned on the streets (the town provides a map and dates when such
furniture can be left). And Varda, ultimately, gives us views of her own
various “collections.”
Surely one of the most touching episodes in this picaresque of picking
things up, is Varda’s encounter with a young man at the market who gathers up
discarded vegetables, munching on many of them as he moves around. In a
conversation with him, she discovers that he has a Master’s Degree and was a
university assistant, but now cannot find a job. In the suburban charity house
in which he lives, he is surrounded mostly by African and Asian migrants, whom,
for free, he teaches French every evening. If there was ever an example of
ethical behavior, this man most clearly expresses it.
Although I saw this film in early 2014—in connection with a Varda
retrospective at the Los Angeles Museum of Art—I suddenly realized that it
captured the very essence of what I had titled the volume about the year 2000
(“Leaving Something Behind”) the year the film was made—another example,
surely, of the coincidences that have defined my life.
Los Angeles, January 8, 2014
Reprinted from International Cinema Review (January 2014).
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