1962 ‘Cléo de cinq à sept’ Directed by Agnès Varda
Agnès Varda eloquently captures Paris in the sixties with this real-time portrait of a singer set adrift in the city as she awaits test results of a biopsy. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina.
Corinne Marchand Antoine Bourseiller Dominique Davray Dorothée Blanck Michel Legrand José Luis de Vilallonga Loye Payen Renée Duchateau Lucienne Marchand Serge Korber Robert Postec Jean-Luc Godard Anna Karina Emilienne Caille Eddie Constantine Sami Frey Danièle Delorme Yves Robert Alan Scott Georges de Beauregard Jean-Claude Brialy Arthur Brunet Raymond Cauchetier Jean Champion Fernande Engler Jean-Pierre Taste
Δύο Ώρες στη Ζωή μιας Γυναίκας, Cléo de cinq à sept, Cléo van 5 tot 7, Cléo od pěti do sedmi, Cleo viidestä seitsemään, Cléo från fem till sju, Cléo från 5 till 7, Δύο ώρες από τη ζωή μιας γυναίκας, 5 ji kara 7 ji made no Kureo, Duas Horas na Vida de Uma Mulher, Клео от 5 до 7, Клео від 5 до 7, Cleo - Mittwoch zwischen 5 und 7, Cleo de 5 a 7, Cléo from 5 to 7, Cleo dalle 5 alle 7, 五至七时的克莱奥, Cleo – Mittwoch zwischen 5 und 7, Η Κλεό Από τις 5 έως τις 7, Beşten Yediye Cléo, 5시부터 7시까지의 클레오, Cléo 5-től 7-ig, 5時から7時までのクレオ, Cléo das 5 às 7, Cléo de la 5 la 7, Cleo fra 5 til 7, Cleo od piątej do siódmej, קליאו מחמש עד שבע
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France
Cannes Film Festival
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New York City, New York
USA
AFI Fest
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FranceTP
Italy
Netherlands14
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Brazil
Netherlands
Brazil
France
Italy
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USA
This deserved Oscars for Cinematography and also Supporting Actor for the man who ate 3 frogs and projectile vomited
In the stunningly original Cleo from 5 to 7, Agnes Varda uses a unique (for the time) structure of following a woman around Paris for 90 minutes in "real" time to explore the fear of death. We know that the film is going to take place from 5'o clock until she meets with her doctor at 6:30, an appointment at which she expects to find out that she's dying from cancer. There's built in suspense as to what the outcome of her biopsy will be, which helps string along an audience that may be turned off by the silliness of the situations Cleo finds herself in the opening scenes of the film. The vast majority of the film takes place…
"i think my fear is gone. i think i'm happy"
now i'm left longing for something i can't quite put my finger on. if i'm currently opening a new tab just to look at paris on google maps... mind your business
me, 1h and 30 minutes ago: yeah..... the french new wave is kinda overrated..... i mean....... yeah :/
me now, wearing a beret: Agnès Varda May Have Saved My Life Oui Oui
Fully 13 years before Laura Mulvey even coined the term, CLÉO DE 5 À 7 seemed to tackle the concept of the male gaze. We first see Cléo via a close-up of her hands, then of her face; she gets cat-called riding in a taxi as she frets over her impending cancer diagnosis, and generally the men in her life treat her more as an object than a person. Her lover stops by just long enough that both can log into their ledgers that he came, while her musical accompanists goof around yet call her spoiled whenever she gets distracted from rehearsal.
That she is a performer adds another level of critical assessment that seeps into her every choice. Indeed,…
We can't help but think of life in the context of both our past and potential future but really it can only be experienced as a constantly unfolding present. Varda beautifully depicts this using a potent combination of real-time vérité filmmaking of the people and objects moving in and out of Cleo's orbit (or frame) around Paris as she awaits possible cancer results and bursts of subjective lyricism in both the way the images are composed/cut to reflect Cleo's internal experience of her external surroundings and the occasional sequence of ephemeral musicality (like being momentarily swept up in the performance of a song that makes her cry or having us watch an entire silent short film with her that makes…
