As Varda notes, in part, “each film has its history, its beauty or not beauty, and its meaning. The meaning can change over the years for people who watch the film, because there is a lot of evolution in the sense of history, the sense of understanding. But when you speak about 35 millimeter or DCP or video, it’s unimportant. The film is what it is, but what is different are the people who made the film. I change. I wouldn’t do the same film today about Cuba or about the planters or about women.
Each film has a date glued to it. And what we try is to overcome the date and make a meaning that can be more than ’62 or ’61 or whatever. But still, even Cleo from 5 to 7, which deals with a temporal history about being afraid of an illness, being afraid of dying, still has in the film itself a purpose— we include for example the radio broadcasts telling the news of the time. Or in Kung-fu Master!, you have the awareness of AIDS in ’87. I think that we try to escape the limits of history and the time, but still I like to have a point that gives a date to the film, and not make believe that it’s nowhere, no time.”