Ulysse

In this ruminative cross-pollination of film and photography, Agnès Varda uses a mysterious still image that she took in the late fifties—of a nude man (the photographer Guy Bourdin, a friend of hers) and a toddler on a rocky beach, flanked by a dead goat with a swelling belly in the foreground—as the springboard for a contemplation on the passing of time and the subjectivity of meaning in art.