[8] She worked at the Théâtre National Populaire for ten years from 1951 to 1961, during which time her reputation grew and she eventually obtained photo-journalist jobs throughout Europe.

In an interview with The Believer, Varda said that she wanted to make films that related to her time (in reference to La Pointe Courte), rather than focusing on traditions or classical standards.

[7] Thus, in 1954, Varda's first film, La Pointe Courte, about an unhappy couple working through their relationship in a small fishing town, was released.

"She was particularly interested in his theory of 'l'imagination des matières,' in which certain personality traits were found to correspond to concrete elements in a kind of psychoanalysis of the material world.

"[17] This idea finds expression in La Pointe Courte as the characters' personality traits clash, shown through the opposition of objects such as wood and steel.

To further her interest in character abstraction, Varda used two professional actors, Silvia Monfort and Philippe Noiret, combined with the residents of La Pointe Courte, to provide a realistic element that lends itself to a documentary aesthetic inspired by neorealism.

[9] The film was immediately praised by Cahiers du Cinéma: André Bazin said, "There is a total freedom to the style, which produces the impression, so rare in the cinema, that we are in the presence of a work that obeys only the dreams and desires of its auteur with no other external obligations.

The film takes its title from both the name of the street and the term "daguerreotype," reflecting Varda’s fascination with preserving fleeting moments in time.

Through a series of intimate vignettes, the documentary explores the routines, stories, and relationships of local bakers, butchers, tailors, and other small business owners.

With its static camera work and observational approach, the film offers a heartfelt and authentic portrayal of a community rooted in tradition amidst the evolving urban landscape.

Widely regarded as a time capsule of 1970s Paris, Daguerréotypes exemplifies Varda’s ability to find poetry in everyday life and elevate the mundane into something profoundly human.

Pomme becomes a pop singer and feminist, forming a group dedicated to women's liberation, while Suzanne raises her children and writes about life on the farm.

In 1985, Varda made Sans toit ni loi ("without roof nor law"; known in most English-speaking countries as Vagabond), a drama about the death of a young female drifter named Mona.

Vagabond is considered one of Varda's greater feminist works because of how the film deals with the de-fetishization of the female body from the male perspective.

The film delves into themes of unconventional love, societal taboos, and the loneliness of adulthood, offering a nuanced portrayal of complex human emotions.

Jane Birkin stars as Mary-Jane, with Mathieu Demy, Varda's son, portraying Julien, and Charlotte Gainsbourg as Lucy, adding depth to the familial dynamics explored in the story.

The film's title references Julien's fascination with the arcade game "Kung-Fu Master," which serves as a recurring motif, symbolizing his youthful escapism and the generational gap between the two protagonists.

Social Commentary: Exploration of Isolation and Connection: Varda uses the controversial relationship between Mary-Jane and Julien to comment on the pervasive loneliness in modern society.

Mary-Jane's emotional vulnerability highlights how adults often struggle to find meaningful connections, leading them to seek companionship in unexpected and socially fraught circumstances.

Critique of Gender Expectations: By portraying Mary-Jane’s relationship with a younger male in a sympathetic yet critical light, Varda draws attention to the double standards in how society judges women’s romantic choices.

Although polarizing due to its subject matter, the film remains a bold exploration of taboo relationships and human vulnerability, cementing Agnès Varda’s reputation as a fearless storyteller who refuses to shy away from difficult questions.

This style of filmmaking is often interpreted as a statement that great things like art can still be created through scraps, yet modern economies encourage people to only use the finest product.

The film shows Varda sitting and reflecting on the things she loves, such as her husband, cats, colors, beaches, and heart-shaped potatoes.

[14]: 6, 12, 106 Because of her literary influences, and because her work predates the French New Wave, Varda's films belong more precisely to the Left Bank (Rive Gauche) cinema movement, along with those of Resnais, Chris Marker, Marguerite Duras, Alain Robbe-Grillet, Jean Cayrol and Henri Colpi.

The members of the group had in common a background in documentary filmmaking, left-wing politics, and a heightened interest in experimentation and the treatment of film as art.

"[9]: 1142–1148  Although not actively involved in any strict agendas of the feminist movement, Varda often focused on women's issues thematically and never tried to change her craft to make it more conventional or masculine.

[51] Her death drew a passionate response from the filmmaking community with Martin Scorsese releasing a statement writing, "I seriously doubt that Agnès Varda ever followed in anyone else's footsteps, in any corner of her life or her art.

Every single one of her remarkable handmade pictures, so beautifully balanced between documentary and fiction, is like no one else's—every image, every cut … What a body of work she left behind: movies big and small, playful and tough, generous and solitary, lyrical and unflinching … and alive.

Other filmmakers and artists who paid tribute to Varda include Guillermo del Toro, the Safdie brothers, Edgar Wright, JR and Madonna.

[34] Varda has achieved the rare feat of winning the most important accolades: a Hollywood Oscar, a Berlin Bear, a Venice Lion, a honorary Palme from Cannes and several Césars.