NOVEL THINKING

Change ), You are commenting using your Twitter account. The viewer can feel her fear. For example, while in the taxi, Cléo is looking out the window, and the viewer gets to see Paris through her eyes. Change ). The camera shows her shopping but also captures many reflections that expose the larger world around her. Cléo no longer wants to be watched and studied, but she wants to be acknowledged as a real human. Don’t be put off by the gloomy subject matter; Cléo from 5 to 7 is an exuberant and very stylish film that benefits from many lighter moments. There is also an evil force in Cléo's life: a doctor. Cléo is a glamorous, self-absorbed Parisian pop star who goes about some everyday activities between the hours of 5:00 and 7:00 p.m. “Varda didn’t transform her men and women into people worth studying; her approach insisted that men and women as they are were all worth studying,” I wrote in my March obituary. On the way to a café, Cléo passes a street performer swallowing frogs and spitting them back out on a huge wave of water. The film is known for its handling of several of the themes of existentialism, including discussions of mortality, the idea of despair, and leading a meaningful life. Click to share on Twitter (Opens in new window), Click to share on Facebook (Opens in new window), Click to email this to a friend (Opens in new window). In addition, there is diegetic music throughout the film. The hustle and bustle of the time is shown as it realistically would have been at the time. Change ), You are commenting using your Facebook account. Time also creates a sense of freedom throughout the film. The music is very French and highlights the French culture of the time. It could be as simple as how she views the lyrics to new songs presented to her from her songwriting team, to her feelings about a conversation she overhears in a café between a couple having relationship problems, to the typical sweet nothings spoken to her from her lover, José.

The white robe flows as she sits on the swing. We are all the same.” These are her internal thoughts rationalizing the overwhelming experience. The jump cuts, along with the diegetic piano, extends the shock Cléo is facing to the viewer. She looks and feels happy and that feeling is felt through the music as well. Her white, lace robe resembles angel wings while she swings and it flows behind her. Her attitude towards life is reflected in her dark clothing. At the beginning of the film, she is in a bright, large dress. Free shipping and pickup in store on eligible orders.

The concept is taken from the camera-stylo and auteur theory of the New Wave. In the present, Cléo is very worried about her future which could explain why the present is black and white. Not only does this represent her beauty as an angel, but it also shows how close to death she is. Though Cléo does little time checking herself, the film is structured through chapters that locate her in time, between 5 and 7. The bustle of life continues all around you, suddenly alien. It is obvious that you understand your topic and you’re enthusiastic about it. The black and white colors and dull contrast of the film highlights her age, wrinkles, and facial concern. Copyright © 2018 – 2020 Online-Inquirer written & edited by Steve Exeter. Death is shown throughout the film and especially prominent in the park scene with the Algerian soldier, Antoine. This is the first time you meet Cléo and begin to understand her inner self and her actions. She will be getting the results today at 18:30h. Florence Victoire, who is better known by her stage name Cléo Victoire (as in Cleopatra), is a singer with three hit singles to her name, and as such some renown. The viewer can feel Cléo’s world closing around her as she is trying to process the news she just heard. The mobile shot shows Varda’s ability to use multiple camera techniques throughout the film. Cleo from 5 to 7 represents a beautifully filmed highlight of the French New … Also, the crowds at cafés and on the street are shown as they would have actually been at the time. Change ), You are commenting using your Google account. Cléo de 5 à 7 is an obviously feminist film as it follows a woman finding peace with herself and her life. I must say that in general I am quite taken with this site. Use the HTML below. Director Agnes Varda and photographer/muralist J.R. journey through rural France and form an unlikely friendship. Cléo and Antoine sit on a bench outside, as Cléo is still determined that the doctor will be there.

The frilly, silky, and lacey robe extends the idea that she is a perfect, angelic figure to be watched. Chapter 4: Cléo with Angèle between 5:18 and 5:25 The movie is incredibly fluid and is broken up by twelve chapters that are represented on the screen with the chapter number, time, and characters. The fortune teller then pulls the hanged man card, meaning that Cléo is ill, potentially with cancer. Actress in silent film, L'arroseur /

The film is told from the first person point of view of Cléo. Cléo no longer wants to be watched and studied, but she wants to be acknowledged as a real human. Dorothée tells her that the broken mirror was meant for that man, not Cléo. It is easy to feel Cléo’s emotions because of how close you become to Cléo. What would you do if you were waiting to hear from your doctor about a potentially fatal illness? Symbolically, when Cléo leaves the sculptor’s room, a mirror falls and breaks. She is wearing a wig and looks almost doll-like. The film has a strong feminine viewpoint belonging to French feminism and raises questions about how women are perceived, especially in French society. She looks at herself in the stream, but the image is contorted. Cléo is a glamorous, self-absorbed Parisian pop star who goes about some everyday activities between the hours of 5:00 and 7:00 p.m. The movie follows an obviously beautiful woman in an equally beautiful city. Smiling impishly in closeup, Cléo acts as if nothing terrible awaits her; to compare her resignation to Sandrine Bonaire’s aimless, anomic drifter in Varda’s later Vagabond (1985) is to watch a director adjust her sense of how illusions sustain us. Sorry, your blog cannot share posts by email. Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. They have the shopkeeper send the hat to Cléo's home, and Cléo and Angèle take a taxi home in time for Cléo's rehearsal. The natural beauty of Paris is seen in its entirety: taxis, shops, cafés, apartments, and streets. Through flashbacks and interviews, we see the events that led to her inevitable death. Antoine also allows she to be her true self, as they meet in a park where there are no mirrors to reflect on. Her journey through Paris can be mapped by location and acquaintances. In the park scene at the hospital, Cléo seems to finally find peace with herself. He also tells Cléo that girls always seem to be afraid to give themselves completely to someone and that they're afraid of losing something close to them, so they love by halves. Before leaving, Antoine confides in Cléo about his thoughts on the war, and that in Algeria, they die for nothing, and that scares him. The film is known for its handling of several of the themes of existentialism, including discussions of mortality, the idea of despair, and leading a meaningful life. demonstrations at city hall, and a museum closing. Women were expected to look beautiful and wore modest dresses. From the opening credits of Agnès Varda’s Cléo from 5 to 7, you know this is going to be a stylish and important film of the French New Wave, a period of Cinema history dominated by François Truffaut and Jean-Luc Godard. Every step she takes is precisely mapped out throughout the film, so Cléo is developed in a realistic setting. The lighting is not added on but seems as if the film was actually shot within 5 pm and 7 pm. The documentary style film allows the viewer to see Paris through Varda’s eyes.

He fears not just that he might die, but that he is risking his life for nothing. Cleo from 5 to 7 Fate and luck are themes that we observe Cléo contending with at a tempo, which in the wider context of the film immerses viewers in the visual and sonic textures of Parisian street life. Varda was trying to create a connection with the art of the film (Cléo’s story) and reality (news). The first scene is done in sepia, indicating time and age of the tarot reader’s business. Antoine and Cléo go to the hospital by bus, and the doctor who tested Cléo for her possible cancer isn't in, despite the fact that he told her he'd be present at 7 pm that day. Among the pleasures offered by Cléo from 5 to 7 is Varda’s transforming Paris itself into an unindicted co-conspirator: the city as setting and provocateur. What illustrates this best is the third scene of the movie when the heroine flits about a local shop browsing hats. This belief affects how she approaches the day, from her encounters with friends and acquaintances to what she observes in total strangers around her. How long can it last?” she cries out in despair. Antoine also allows she to be her true self, as they meet in a park where there are no mirrors to reflect on.

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