Every scene is memorable. Simple moments of crossing the street have character. The firm sense of time and place really help solidify the theme of being both a subject of spectacle and a spectator. I like how Paris feels like a character without using grand establishing shots. It feels natural and lively similar to Varda's stylistic experimentation with shots and editing. Also, I want an apartment with a swing.
An incredible film by the great Agnès Varda with a beautifully crafted balance between artful delight and sober, slow-paced, realistic storytelling; an accomplished hint of experimentalism while remaining realistic at the surface. It's an amazing minimalist adventure of life that makes you experience truly the deepest possible powers of cinema.
A new wave hallmark, as good as anything Chabrol, Godard, etc ever made. Best film about seeing if you have cancer ever? Possibly. Marchand is charming throughout and gives one of her career defining performances. Varda directs with a combo of neorealism and other genre stylings to make this a bit diff from your standard 60s French film. Cool cameos by Godard and others in short film. Essential. 5 easy stars.
3-4. I'm somewhat torn. As is characteristic of notable New Wave films, 'Cleo' is evocative from beginning to end, sporting evocations about fluidity of identity (the hats), death (shattered mirrors), and women commodified (the cat). But as is also characteristic of these films, the plot is comparatively simple and kind of aimless, redeemed by a simple, but palpable exorcism of fear about death.
Cléo de 5 à 7 ressemble plus à une dérive situationniste chère à Debord qu'à une ode au hasard cher à Breton et aux surréalistes. C'est cette incroyable balade à l'écoute d'un Paris qui n'existe plus, qui transforme la frivole Cléo, toute à son égo, à sa délibération intérieure, et l'ouvre à l'amour. Et pour sublimer l'ensemble, la caméra de Varda, comme un précipité de modernité. Quelle transfiguration !