Title: Cleo, From 5 to 7
Release Date: April 11, 1962
Director: Agnès Varda
Production Company: Ciné Tamaris | Rome Paris Films
Watching lots of New Wave, New Hollywood, and other 60s art films, I’m seeing a pattern of movies that glorify the renegade man. Over and over these men defy convention, yes, but are also obnoxious, abusive, and sexually aggressive – in short, dudebros. So it’s refreshing to see a New Wave-style film by a woman director that focus on a woman lead character who spends much of the film interacting with other women.
Cleo (Corinne Marchand) is a rising pop singer who is waiting for the results of a medical test which will tell her if she has cancer or not. Over a two-hour period (close to the film’s 90-minute run time), Cleo visits a tarot card reader, goes shopping with her maid, has a brief visit from her lover, rehearses with her composer and lyricist, meets her friend Dorothée (Dorothée Blanck), and finally goes to a park where she encounters a soldier on leave from the Algerian conflict, Antonie (Antoine Bourseiller). Antoine agrees to accompany her to the doctor if she will see him off at the railway station.
Cleo is depicted as being somewhat vain, but a recurring theme is “beauty is life,” reflecting how people are conditioned to value a woman for her beauty. Cleo’s meanderings through the film are given poignancy by the fact that she is facing her mortality. The movie is also a great time capsule of Paris in the early 1960s. I was particularly impressed by an extended scene in a taxi cab that simply showed the view of the city’s winding streets at a radio news report speaks about Algeria and other current events. The whole movie is beautifully composed as a film and features top-notch acting all around.