Sin techo ni ley

Perhaps Sandrine Bonnaire's "Mona" represents my greatest fear -- of being alone and broke. That is why she has remained with me for almost twenty years. Remembering the first time I met her is nostalgic to me. I walked the roads of rural France with her and liked her for not begging to be liked. Perhaps it was love more than like. Her journey made me tearful. I mourned the inevitability of her existence.

Such is Agnes Varda's talent that the movie affected me so deeply -- my favourite movie of hers, by the way. The landscapes are so vivid, the dead tree branches so bare yet so brittle in the harsh elements. The compositions possess a fixed, absolute nature that conveys a hopeless destiny. There is no offensive beauty in Mona's destitution, there is merely purity.

Because so few motion pictures resonate with this much intensity and feeling for me, I go through periods in which I feel like I'm wasting my life away seeing so many, but when I consider the alternative, Mona's choices suddenly feel real to me.

Extraordinary in every sense.

Make a gallant effort to see VAGABOND. It will touch you deeply and wake you from the slumber of indifference.

With an antagonizing protagonist who is as doomed as the plane trees in the film...this film could be seen as strictly nihilistic. I recently watched "SherryBaby" and strongly preferred this film which I watched a week prior, and yet I still find myself pondering Sandrine Bonnaire's portrayal of a woman who is stranded.

Indeed "No one makes it alone" could better be the tag line here, and Bonnaire's Mona goes on an odyssey that is nothing short of harrowing. Also trading heroin chic for (self-imposed?) homeless bleak pushed us into less charted filmic waters. Choosing an unknown for the title role was also a good call I suspect. The film is now older than it's lead actress was at the time.

So much of the film talks about how Mona stinks, perhaps smell-a-vision would have helped ;> Honestly her face is still too attractive, although wide and maybe manly in a way, that for me the sense of her scent didn't wash. That being said, her disaffection was on display so well, that you could see her as having a dirty soul. At nearly every chance of being likable she veers to the other direction, the one notable exception for me being her interaction with the "platonologne" (is that like octogenarian, don't know the French...the characters all had interesting descriptions in the credits)..

Additionally, from the English subtitles and snatches of French, I sense the dialog (should I say dialogue) in this was quite cutting and clever in parts.

While Mona lives without roof or law, while she may move without purpose or direction, she is more than a human tumbleweed. She does not live without leaving a trace...but the filmmaker keeps us intentionally distant from her, we are never allowed inside her mental tent. Thus our composite sketch of her is as complex and contradictory as the people she encounters. Not only does Mona live without control over her life, her death as well eludes her.

Viewers may find it less easy to escape.

Thurston Hunger 7/10

Someone moving through life in a way so counter to the norm, taking the road less traveled and often so vulnerable doing so, is like a mirror held up to humanity. Some react with incredible generosity and try to give her a leg up, and others are harsh or prey on her. To its credit, the film doesn't glamorize this character and frankly she's often hard to like, and yet Varda has a way of bringing out empathy, a big part of which is suspending judgment. It didn't all work for me, like the maid with problems of her own addressing the camera, and it's a bleak tale, but the profoundly deep kindness of the director radiates like a beacon. Sandrine Bonnaire gave a fine performance too.

We know from the very beginning the fate of Sandrine Bonnaire's Mona, the "Vagabond" of the title in Agnes Varda's magnificent film. She's dead, a frozen corpse in a ditch and then, in flashbacks, we see how she got there. Varda never passes judgment and "Vagabond", like her very best films, is a work of observation. As well as a handful of professional actors she uses the people of the towns and villages Bonnaire passes through, giving the film an air of reality while Bonnaire herself is simply superb.

Varda doesn't require her to do anything but exist and it's a very 'un-actressy' performance, closer to real life than to what we are used to seeing in the movies. Now and again the film dips into the conventional as if Varda is trying to put some meat on its bones but for the most part, this is a remarkable work and one of the best of its director's career.

You're an outcast, left to fend all on your own, reasons unclear, and only you're the one who knows, wandering the barren lands, in a winter where cold's fanned, on occasion some small morsel might be thrown. The net, that's meant to catch your fall has failed, as you cascade along a lost and lonely trail, folks indifferent to your plight, you're frustrations causing flight, becoming cornered, without wind to catch your sail.

Through an outstanding performance from Sandrine Bonnaire, the late, great Agnès Varda leaves us under no illusion of the cause of a young woman's death during her winter of discontent.