However, this song changes Cléo. articles Combining cutting-edge design, illustration and journalism, we’ve been described as being “at the vanguard of the independent publishing movement.” Our reviews feature a unique tripartite ranking system that captures the different aspects of the movie-going experience. She understands that the ordinary has its own draws and wonders, even allowing for a cursed woman to briefly forget her upcoming ordeal with illness. I saw her as a real human and artist rather than a person to be thrown around by men and society. Cleo from 5 to 7 is one of the first films by Agnès Varda, a Nouvelle Vague director. The first frame of the scene is black and white to show contrast between the piano, the background, and the characters. Once Cléo is signaled to sing, the songwriter and pianist stare expectantly at her. Cléo becomes less of an object to be watched and studied but rather a person with real emotions. At the beginning of the film, Cléo is suffering with the news that she might have cancer. Les fiancés du pont Mac Donald ou (Méfiez-vous des lunettes noires), 100 great movies by female directors – part 1, Discover one of the hidden gems of the Czech New Wave, How Bonnie and Clyde brought the French New Wave to Hollywood. She puts on a simpler dress and removes her wig. She is overwhelmed by her surroundings and the music because of its close relationship with what she is dealing with on a personal level. Cléo, as flâneuse, consumes the spectacle of late capitalist modernity as manifest within the social and material fibre of 1960s Paris. Little White Lies was established in 2005 as a bi-monthly print magazine committed to championing great movies and the talented people who make them. Female characters in the film embody different possibilities for womanhood, but Cléo, our protagonist and guide through Paris, is no feminist heroine. Why list these events? A curiosity in the everyday powers Agnès Varda’s masterful second feature. At first, the scene shows Cléo, pianist, and songwriter. The audience feels her emotions as there is nothing else to look at but her face. In Cleo from 5 to 7, Cleo meets her friend Dorothee's boyfriend Raoul. With a few exceptions, Cléo and those around her benefit, or are somehow invested in her beauty. She rehearses the song and becomes visibly more emotional. Whilst viewing Paris through Cléo’s female gaze, a patriarchal male gaze is ever present, with beauty, looking, being looked at, and women’s place in society operating core themes around which the film pivots. She is not aware of the world around her but only cares about being beautiful and being perceived as beautiful. Fate and luck are themes that we observe Cléo contending with at a tempo, which in the wider context of the film immerses viewers in the visual and sonic textures of Parisian street life. The diegetic music adds layers for the audience that Cléo herself is not experiencing. Throughout the film, pieces of songs, often Cléo’s own songs, are added diegetically to show that Cléo’s music is always present. Through the film we see Cléo grappling with the implications of seeing herself, and being seen by others through a lens of feminine beauty, which situates her as frivolous, passive and vulnerable. The audience is forced to see her inner struggle and emotions as shown through her facial expressions and tears down her cheek. It depicts two hours in the life of a woman wandering throughout Paris on June 22, 1961. D) She gives it to her friend Dorothee. The music comes from the piano and Cléo’s impressive voice, but Varda also added other instruments to the song such as violins, flutes, and brass. Her eyes connect with the viewer as she stares into the screen, having broken the fourth wall. Cléo breaks the fourth wall and faces the camera directly while singing. In Agnes Varda's Cléo from 5 to 7, the realization of identity and self-fulfillment is undertaken through perception and perspective. Even the tiniest of things can relate to the character’s worries and concerns. Varda locates Cléo and Paris with a wider national and international website of relations and context, including through references to the Algerian War of Independence. Beauty is fundamental to Cleo’s sense of self, she enjoys and finds validation in embodying femininity as an object, enacting practices and consuming products that signify femininity. As an urban geographer my research and teaching is oriented around relationships between gender, sexualities and cities. She fears death, and it controls her thoughts. In addition, after this scene, the camera no longer focuses so much on her face, but instead, it focuses more on the beauty of Paris and her surroundings such as the park and city streets (Powrie, 116). She will meet with her friends, wander through the park, and meet an Algerian soldier. She no longer wants to be regarded as an object to be tossed around by her lover, maid, and writers, but she wants to rediscover herself as a strong woman. Cléo from 5 to 7, a film concerned above all with appearances, makes good use of its subject matter, as illustrated by scenes such as these.Mirrors and clothes, the washed-out symbols of shallow artifice, carry the weight of the film’s storytelling. Centring women in narrative and documentary films is a common thread in Varda work. But what did she see on her journey? The film centers on the two hours that a young singer, Cleo, must wait to hear from her doctor to find out if she has cancer. We see this through Cleo’s interactions; particularly with men, but also through Varda’s use of mirrors as a device that signifies Cléo’s relationship to beauty and process of self reflection. Trying to earnestly avoid what this could mean for her, she wanders almost aimlessly from place to place; talking to strangers, meeting friends and getting taxis to nowhere. The film is in fact by Varda, her short ode to silent comedy, Les fiancés du pont Mac Donald ou (Méfiez-vous des lunettes noires). However, the camera will pan to Cléo to show her emotions towards the song, changing back to first person like the majority of the film. Cléo, portrayed by Corinne Marchand, starts the film at 5… Varda is less interested in viewers identifying with or sympathising with her protagonist, than engaging with the contradictions Cléo encounters through the social, spatial and political context in which she lives her life. The audience can hear what the final cut of the song might sound like when it is released. Throughout the film, pieces of songs, often Cléo’s own songs, are added diegetically to show that Cléo’s music is always present. Her worry drove her frantic steps but she knows herself better now. She is in search of headspace as much as physical space. The song is almost directly in the middle of the 90 minute film. Neroni observes that Cléo’s beauty simultaneously defines and obliterates her, erasing her subjectivity through objectification. “Everything suits me,” says Cléo with sheer delight as she exhausts a hatter’s stock. Scene Analysis Music is obviously important to Cléo as she is a famous pop-artist. The contrast between her face and the background make it impossible to ignore the sadness in her eyes. Viewers follow the self-absorbed and pampered Cléo, a well-known singer, as she moves through Paris.