Hervé ('VR2000'): 'Loading up' means retrieving heavy objects people get rid of. To do so, town councils and city halls provide small maps such as this one. It shows all the streets, the districts and the days on which one can go and pick them up. 
Varda: I think the maps show where to dump things rather. 
Hervé: Yes, right, well, I read the map my own way because that's where I find my raw material. I am, among other things, a painter and a retriever. 

Some other maps in Varda's film:

The schoolroom is one of the two settings in which a map in a film is most likely to be found, and this is the earliest  example I know. Below are some later illustrations from French cinema.

‘After a credit sequence showing belle époque photographs three “nationalist” recitations are juxtaposed, before a map presents insistently the gaping wound that is Alsace Lorraine: the lies of propaganda, the desire for revenge,  and then there is war.’
 Corinne Françoise-Denève, ‘Retour de flamme: Grande Guerre et cinéma français dans le nouveau siècle’, in Carola Hähnel-Mesnard, Marie Liénard-Yeterian, Cristina Marinas (eds), Culture et mémoire: représentations contemporaines de la mémoire dans les espaces mémoriels, les arts du visuel, la littérature et le théâtre (Palaiseau: Les Editions de l’Ecole Polytechnique, 2008) p. 186.

‘The film opens with a spinning globe and a zoom-in shot towards Western Europe and France. The map fades into a larger-scale map of Europe centred on Paris, from which a bold line is drawn toward the South through Marseille, the Mediterranean Sea, Oran and finally Casablanca, the setting for the film. At this point, the map dissolves into a view from a high roof in the city, followed by a vertical panoramic (tilt shot) that takes the audience down to the busy streets of Casablanca. In 1 min, we have crossed multiple scales from the entire globe to the street level.
  This journey predates several of the zooming capabilities developed more than 60 years later in virtual globes. First, it integrates the combination of the spinning globe with a zoom effect on a specific point. Second, it uses a similar ‘jump’ effect as the one currently available in Google Earth to move from one place to another. In this case, the journey from Paris to Casablanca starts with a zoom in on Paris, followed by a zoom out moving toward Southern Europe, then a zoom in to Morocco and finally Casablanca. The jump effect is very compelling as it simultaneously follows the journey from Paris to Casablanca being traced on the map. Third, the perspective changes from 90 degree view of the cartographic representation of the world, to an oblique perspective of the streets of Casablanca and resonates with the recent development of street views functionalities in applications such as Google Map.’
 Sébastien Caquard, Foreshadowing Contemporary Digital Cartography: A Historical Review of Cinematic Maps in Films’, The Cartographic Journal 46.1 (2009)

A different map in the film.