The cinema of Agnes Varda, which has been studied systematically in recent years,1 presents itself as a rather peculiar theoretical construction that is inscribed in a plurisignificant dimension in which each image asserts itself as a problematic node of great theoretical relevance. These are problematic nodes of a philosophical nature and of great formal intensity that emerge from the staging to create thought and take the form of a hermeneutics of being in the making. This horizon emerges repeatedly in all her films, attesting to different reflections each time but always maintaining a “philosopher of images” attitude.