A subtitle warns, "Beware of dark sunglasses." Anna and her lover, whose looks in bowler and bow tie are reminiscent of a young Buster Keaton, kiss chastely on a bridge overlooking the ... See full summary »
Mary-Jane asks, "Do all women fall in love with a boy, or just those without sons?" She's divorced with two daughters, Lucy and Loulou. Lucy has a party where Mary-Jane notices Julien, 14, ... See full summary »
While in San Francisco for the promotion of her last film in October 1967, Agnès Varda, tipped by her friend Tom Luddy, gets to know a relative she had never heard of before, Jean Varda, ... See full summary »
What does being a woman really mean? How do women live the status society reserves for them? A group of women, beautiful or not, young or not, gifted with motherly instinct or not, answer before Agnès Varda's camera.
More than 40 years after making "Cléo de 5 à 7," Agnès Varda invites her star, two other cast members, and her assistant directors to look back. She takes us through the film, from opening ... See full summary »
A pregnant filmmaker takes us to rue Mouffetard, "la Mouffe," in the Latin Quarter of Paris for a mix of documentary footage and imagined scenes. Vignettes or chapters unfold - on the feeling of nature, on pregnancy, on anxiety, on desire, and so forth. Women shop at a vegetable market, their faces marked by care and poverty. We see young lovers, playful and innocent. Derelicts drink and sleep on sidewalks. A weary pregnant woman carries her shopping bags; later, she eats flowers. There are counterpoints of gritty realism and playful, near-surrealistic images. Political and artistic consciousnesses create a montage. Written by
The movie is a feast for the eyes, we stroll through a French town from the perspective of a pregnant woman. It would be interesting to know whether Agnes Varda, the director, was herself pregnant during the shooting or editing of this movie. The images flow in groups of different types, for example, there are set of images organized by the shape of the images, there are sets organized by similar movement, there are sets organized by meaning. It is all very hypnotic. There is also a surprising amount of nudity for the year of its production. As far as my experience goes, it has more nudity than any movie before it and any movie after it until 1966's "I am Curious-Yellow". This movie reminds me of the experiments made during the early days of the movie camera and also the early avant-garde movies of France and Russia. It's well done, but it doesn't offer much beyond what those earlier movies achieved.
Also the original soundtrack is a unique and interesting counterpoint.
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