Incredibly pleasing movie aesthetically-wise which has still left me quite puzzled. As it happens with every great piece of cinema, the interpretations of the movie seem to be very dependent on one's inner perspective on certain matters (love, romance, family, relationship). I personally saw it all as a perfectly constructed, self-made dreamworld where any pain and doubt is to be permitted for the sake of Happiness.
I like all the details of sixties daily life and the colours, but the typical abrupt editing style of the era only feels distracting to me. Plus the (SPOILER) suicide was too predictable. I still haven't seen a Varda film that convinces me she's not a second-tier New Wave member (and perhaps getting too much attention as the only well-known female director in the wave), but Vagabond will hopefully change my mind.5/10
Varda on Le Bonheur: “I imagined a summer peach with its perfect colors and inside there is a worm.” Not the 60s but I still feel like post-feminism landscape is this juicy peach & Pinterest wildflowers & picnic blankets listening Mozart. I've grown up to believe that in our patriarchal culture, love is still the worm; commitment, the threaten & offspring, the tragedy for any sensible woman. very 2ndwave, I know.
Gleaning art from the scraps is one of Agnes Varda's gifts. An overproduction of 35mm prints from this so-called 'failed' early film led to creating an art installation greenhouse from its celluloid. Whilst the first is good, the artistic reappropriation is masterful.
I read this as a deeply ironic film about the male happiness in a patriarchal family structure. In this glossy colourful world (Varda seems to is playing with the visual language of commercials) one woman can easily be swapped for a new one as long as The Man In The House™ is happy.