Varda never lets Le bonheur devolve into a search for easy answers. Nor is she presenting “all sides” and leaving it up to viewers to untangle their own prejudices in the film’s wake. For every bit of deck-stacking… we run smack into all those massed characteristics of her film’s presentation that signal the complete opposite. I’ve seen many things in multiple viewings of the film. If not much in form, in argument, Le bonheur is all ands, ifs, buts, and bys.
September 23, 2016