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Réponse de femmes : Notre corps, notre sexe
Réponse de femmes : Notre corps, notre sexe (Agnès Varda, 1975)

    Women Reply

    Réponse de femmes : Notre corps, notre sexe
    Agnès Varda, France, 1975, 8’

    In 1975, International Women’s Year, as declared by the United Nations, Agnès Varda was invited by French television to contribute to the show F comme femme. The result is a Second Wave Feminist pamphlet where young and old, dressed and nude, proletarian and upper-class women answer the question: What does it mean to be a woman?

    The style of Women Reply is very typical of the politically engaged cinema of the 1960s and 1970s. This short film could feel terribly dated today, were it not for Varda’s success in transforming a series of dull slogans into a stimulating experience that is at once inventive and poetic.

    In what Varda herself calls a “ciné-tract,” various women talk about themselves in front of her camera: what they look like, their views on sex and desire, advertising, and the controversial maternal instinct. These women may be beautiful, unattractive, or downright ugly, but they all want to be treated as individuals and not as consumers and sex toys, only to end up as old, easily discarded ghosts. The group of women protests against the conditioning imposed on them by society and the suffocating gender roles that go with it.

    The most striking thing about this pamphlet is the scene in which a pregnant woman dances naked in front of the camera, without a shred of shame. Even a puritan could  appreciate such a (then) rare scene, unlike some viewers of French television who complained to Antenne 2 at the time about this “scandal.”

    Bio Agnès Varda

    Agnès Varda (1928-2019) was a Belgian-born French film director. She studied Art History at the École du Louvre and photography at the École des Beaux-Arts but also held a Bachelor’s in Literature and Psychology from the Sorbonne. While working as a photographer, Varda became interested in making a film, even though she knew little about the industry. Varda’s feature film debut was La Pointe Courte (1955), but her film Cléo de 5 à 7 (1961) established her name and became a landmark of the French New Wave. Varda wanted to make films in line with her time, rather than focusing on traditions or classical standards.
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    • This film was #44 in the “Greatest” Short Films of All Time 2025
      voted by Lauma Kaudzite, Elspeth Vischer, Anne Gaschütz, Pavel Mozhar, Selina Robertson, Sarah Wood
    documentary politics portrait

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    Ours is a Country of Words

    Mathijs Poppe, Belgium, Lebanon, 2017, 42’

    Filmed in Shatila, a refugee camp built in Lebanon when thousands of Palestinians fled their country in 1948. At an undetermined moment in the future, the refugees’ dream of returning to Palestine becomes a reality.

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    Cyclepaths

    Anton Cla, Belgium, 2023, 12’

    On the outskirts of the city, the new modern buildings are silent, and the motorway bridge drones. Birds are circling in the sky, and a young man, concealed by his hoodie, is riding his e-scooter along a park path. The only irritating element is the rifle over his shoulder. Cyclepaths conveys a mood of high alert, even though the disaster has, in fact, already happened.

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    Old Child

    Elettra Bisogno, Hazem Alqaddi, Belgium, Palestine, 2019, 16’

    Old Child depicts the fragmented story of Hazem, who had to flee Gaza. Throughout this stream-of-consciousness montage of dreams and reminiscences, he searches for order but also for the beauty he left behind.

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    On Its Way Down

    Sebastian Schaevers, Belgium, 2022, 22’

    Zinal, a small town in the Swiss Alps, looks straight up toward the melting glaciers of the Couronne Impériale. The townspeople struggle with nihilistic indifference. When the threat is so immediate, and their powerlessness so great, can their response be anything other than cynicism? Then a paraglider falls mysteriously from the sky, and Zinal starts to change.

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