At the sea shore, a goat, a child, and a naked man. This is a photograph taken in 1954 by Agnès Varda. The goat was dead, the child was named Ulysses, and the man was naked. Starting from this frozen image, the film explores the real and the imaginary.
Considered one of the most beautiful shorts from Agnès Varda, Ulysse takes as its starting point a photograph that she took in 1954. Returning to the image years later, Varda unravels a thread of ideas regarding the authenticity of photography, the passage of time, and the mercuriality of memory.
A short diatribe on reconstruction this fascinating short dwells on the possibility of validity as different hermeneutic narratives unfold in the 'great chain of being' that likens a dead animal to major historical events. In effect, the very denotative power of the photograph adds to the whole venture-based also on editing decisions-a primitive aura, as if photography looks back to some sort of 'beginning'.
Great work about memory, and the passing of time. Agnès Varda once again does a documentary piece about a part of her life and people that were important to her. The leitmotif is a photo taken almost 30 years before, a composition. By going back to that day and talking to the photographed people after all those years, she does a very interesting reflexion, letting it go where her curiosity and poetic look takes her.
It ends so arbitrarily, as if to imply that it could've gone on indefinitely. Sometimes I open my mouth to speak and am silenced by what feel like infinite choices, of words, of truths, of framing - even in answer to something specific. This stops me. It doesn't stop Varda, who simply makes it into a film. A lovely approach: meditative and deep, if not quite as wise as that goat's.