FREE ON CINEGEEK.DE THE BEST MOVIES IN OUR VIDEO STORE! Agnes Varda - Vagabond (engl. subt.) 

Very slowly the camera moves across the bare fields of a French winter landscape. At the top of the hill there are two barren trees, strictly outlined. Nowhere does anything like happiness or joy exist here. At the bottom of a ditch, the lifeless body of a woman is discovered. A field worker lets out a cry. Then the medics approach, trying to determine the identity of the dead woman. What is her name and how did she end up there in the ditch? A voice - it is that of Agnes Varda - tells us how much she was taken by the fate of the stranger during the last months. Now she is looking for witnesses. People who perhaps knew the young woman. But Vagabond is the story of a woman who could not have been known at all. Surely there are some people who spoke to her. Maybe even some who sheltered her, gave her something to eat. Or shared a bed with her. But knew her? No one knew the young woman. This is exactly what Vagabond investigates, entirely in the style of a documentary via flashbacks. But in truth, it's all fiction. And like any good story, it hints at more than it actually knows. From scraps of information we learn that she originally comes from a middle-class family. Once upon a time she trained as a secretary, worked in an office. She hated it. Then she went out on the street, carrying everything she owns in a backpack. She begged and did work for some money. When you look into her broad, friendly face, you see a normal woman. Her calm smile seems peaceful. But people talk about the fact that she smells. Sometimes she prefers rolling her own cigarettes to a meal. And sometimes she throws a few coins into the jukebox instead of buying bread. We quickly realize how passive she must be. At one point, a goat herder offers her a trailer, but she doesn't take the chance to help him work in return. Instead, she remains in the trailer, staring into space. Does she detach herself from any aspiration? But who knows how to interpret all the signals. Sometimes she seems content, opens her tent, gazes into the morning sun. She gets drunk with a countess and talks with a professor. But is she interested in people at all? It is painful, as we notice how the girl's defenses are slowly weakening. Deeper and deeper she sinks. From a vagabond she develops into an outcast. Disoriented, she seems like a wild animal. Confused, frightened and amazed at how far she could fall. She cries. It is heartbreaking, because she is still a girl! A girl first. Defenseless, she is. What a movie! As only the very greatest films do, it tells us - most definitely - this story about this very person. Because this girl is her own story and should not symbolize anything. Agnes Varda does not want to present us with a parable. And finally we realize that this story of the vagabond could be our own: How many people have really known us?