This interview took place on June 18, 2012, on the island of Noirmoutier off the coast of France.AGNÈS VARDA:You know you should say the real title, Lions Love (… and Lies). Everyone always forgets the end bit … and Lies. I very much like the way titles resonate, even if it seems pointless (are we recording already?). Listen to this: that installation that was called ...

Both a precursor to and a critical member of the French New Wave, Agnès Varda weaves documentary and fiction into tapestries that portray distinctive places and complex human beings. Critics and aficionados have celebrated Varda's independence and originality since the New Wave touchstone Cleo from 5 to 7 (1962) brought her a level of international acclaim she has yet to relinquish. The book traces Varda's works from her 1954 debut La Pointe Courte through a varied career that includes nonfiction and fiction shorts and features, installation art, and the triumphant 2008 documentary The Beaches of Agnès. Drawing on Varda's archives and conversations with the filmmaker, the book focuses on the concrete details of how Varda makes films: a project's emergence, its development and the shifting forms of its screenplay, the search for financing, and the execution from casting through editing and exhibition. In the process, it explores the artistic consistencies and bold changes in Varda's career and reveals how one woman charted a nontraditional trajectory through independent filmmaking. The result is a book that reveals the artistic consistencies and bold changes in the career of one of the world's most exuberant and intriguing directors.

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The cinéé-club was central to French fi lm culture in the 1950s and 60s. Analysis of cinéé-club programming, educational activities, and of questionnaires fi lled out at the premier of Agnèès Varda's Cleo from 5 to 7 reveals that the cinéé-club powerfully shaped viewers' tastes and viewing skills.