Le Bonheur

At first sight, Le Bonheur seems just a conventional film, with everything being too perfect. Each single frame is a beautiful picture in composition and color. We see a happily married couple, with charming and beautiful children, nice family picnics in the country, the sublime music of Wolfgang Amadeus Mozart in two of his most beautiful pieces (Adagio and Fugue in C minor and the Clarinet Quintet). Happiness (Bonheur) and harmony is everywhere.

But then the husband meets another woman, very different from his wife, falls in love with her, and proposes a thesis: for him, happiness is not a subtractive affair - it all adds up. After being in love with his new lover, he manages to love his wife and children even more. Love, happiness, harmony should never be too much, Agnès Varda seems to say. But is it possible? Or, better: do people make it possible? Shouldn't it be possible?

That's why this apparently bourgeois film is, in fact, revolutionary. It proposes a new vision on certain matters that is, ultimately, extremely subversive. And it does so in a most contrasting environment.

That said, it has some of the most gorgeous images in film to look at. The use of colour is amazing. And, exactly for being so beautiful, the conclusion is so shocking.

In short: one of the most important films in History, one of the most subversive, and certainly one of the most beautiful. We can only say: thank you, Agnès Varda, for making it. Hope people will understand it better, in the future, and grasp the challenge you have cast.