After Cléo meets Antoine, the viewer learns that her real name is Florence. Whilst in a taxi she becomes embarrassed when her song is heard on the radio and refers to it as awful. He fears not just that he might die, but that he is risking his life for nothing. The music is very French and highlights the French culture of the time. Also, time is shown through the radio news in the taxi to show the real events that happened on this specific day. The theme’s rhythmic ostinato and Cléo’s walk evoke the methodical sound of a ticking clock, propelling her to move forward onscreen despite her clear distress. Her next card, the hanged man, shows suffering and change. Her journey through Paris can be mapped by location and acquaintances. The jump cuts, along with the diegetic piano, extends the shock Cléo is facing to the viewer. Cléo from 5 to 7 (French: Cléo de 5 à 7 [kle.o də sɛ̃k a sɛt]) is a 1962 French Left Bank film written and directed by Agnès Varda. Capdenec, Michele. Cléo is represented as an angel in her apartment on her swing. The camera looks at her profile while she looks at the window shop and sees death. She looks and feels happy and that feeling is felt through the music as well. Time is marked by the chapters, but life continues for Cléo at different paces. She used Paris as the film set rather than creating expensive sets as had been done for many films before and after. After she storms out of her rehearsal, she changes into a slim black dress, removes her wig, and puts on sunglasses. She jump cuts from the car to the worry on Cléo and Antoine’s face. Our monthly column exploring film soundtracks looks at the second feature film by French New Wave director Agnès Varda. She no longer relies on the close watch of the males around her but wants to be regarded as an equal (Bassaler). But though her work as a … The natural setting highlights the almost documentary format of the film. The viewer can feel her fear. Death is shown throughout the film and especially prominent in the park scene with the Algerian soldier, Antoine. Have a look below to see the official soundtrack list for the 2014 romance movie, 5 to 7, including scene descript This adds to the documentary style of the movie as it makes each scene feel more authentic. After Cléo is no longer controlled by men watching her, she is able to be her true self. Also, time is shown through the radio news in the taxi to show the, events that happened on this specific day. Cléo from 5 to 7 is a 1962 French Left Bank film written and directed by Agnès Varda. The mobile shot shows Varda’s ability to use multiple camera techniques throughout the film. 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. For example, while in the taxi, Cléo is looking out the window, and the viewer gets to see Paris through her eyes. Picture 4/10 The Criterion’s Collection’s original 2000 DVD edition of Agnes Varda’s Cléo from 5 to 7 presents the film in its original aspect ratio of 1.66:1 on a single-layer disc. The remainder of the film – Cléo’s real-life – is shot in black and white. She expects to find the truth of her future through the cards. The viewer sees Cléo in a natural light as she goes through her day. The documentary style of the film allows the viewer to follow Cléo during real-time from 5 p.m. to 6:30 p.m on June 21, 1961. It feels as if the first outfits were faked and what she thought people expected her to wear. Antoine also allows she to be her true self, as they meet in a park where there are no mirrors to reflect on. In the first scene with the tarot reader, Varda uses color to characterize Cléo as she struggles with her disease. She no longer relies on the close watch of the males around her but wants to be regarded as an equal (, Varda uses shot-reverse-shots to establish dialogue among the, Her next card, the hanged man, shows suffering and change. People’s minds are crammed full of cancer and heart trouble. She is no longer restricted to her thoughts, but she can outwardly express her thoughts and feelings to Antoine. The camera cuts to her dismal face, the dirty, dark wall, and the tight, constricting hallways. She is aware of the world rather than just accepting things how they are. A sombre Cléo descends the staircase from the fortune teller’s office and a sighing theme on strings and harp begins to emanate from the soundtrack. She constantly thinks about how she can be more beautiful than the others. The camera creates space between Cléo and her diagnosis. The lyrics become less general in this verse too, as the song shifts gears from the universal romanticism of a love ballad to existential lament about body horror and the terror of death. This creates a very natural, real-life feel to the film. The large skirt flows as she walks and creates a anything-goes presence for Cléo. After the doctor gives her diagnosis and drives off, the camera seems to sit on the back of his car and pans away from Cléo and Antoine. This is not an official page. Every step she takes is precisely mapped out throughout the film, so Cléo is developed in a realistic setting. When Cléo walks the streets of Paris there is both diegetic and extra-diegetic sound. My disease is phone calls and appointments.” Agnès Varda’s “Cléo from 5 to 7” (1961) is a film that ought to be discovered by you. Men wore suits and had to dress sharply for their jobs. Cléo wears multiple dresses over the course of the film that are reflective of her mood. Title Screen : Movie Title/Year and Scene Descriptions: Screenshots: Cleo From 5 to 7 (1962, Fr.) It is not perfect to always have someone watching and judging. The lighting is very natural and the scene seems natural even after the film started in color. The viewer follows Cléo so closely, but because Cléo is moving around Paris so much, the viewer also gets to see Paris. The hustle and bustle of the time is shown as it realistically would have been at the time. Many of the events described by the tarot reader, the viewer will find to be true later. She loves being regarded for how she looks and feels down if she is not noticed. Cléo’s relationship with her musical output is conflicted, indicative of her internal struggles regarding her sense of self-worth. Cléo does not have a date with a lover but a date with death. Cléo’s beauty is highlighted through editing and the theme of the gaze. Sound is incredibly important in the film as Cléo is a pop artist and much of her work revolves around music. She is not putting up a front for society and Varda expertly shows this through the camera framing. Criterion is proud to present Cleo from 5 to 7 in a beautiful digital transfer supervised by the director, with the color opening sequence restored. The documentary style of the film allows the viewer to follow Cléo during real-time from 5 p.m. to 6:30 p.m on June 21, 1961. While life is going on in Paris, she is struggling to face the results of her biopsy (Hagopian). Also, the crowds at cafés and on the street are shown as they would have actually been at the time. Every step she takes is precisely mapped out throughout the film, so Cléo is developed in a realistic setting. Cléo from 5 To 7 is one of the first films by Agnes Varda, a French New Wave director. This is not an official page. The white robe flows as she sits on the swing. 28 talking about this. Another example of her thoughts being heard by the audience but not the characters in the film is in the taxi cab when men are hounding her car. There are even moments where sound is added from her thoughts to create another level of understanding into Cléo’s inner psyche. However, with Antoine, the shot-reverse-shot framing disappears and gives way to both people framed in the shot. demonstrations at city hall, and a museum closing. She looks into the mirrors to reaffirm that she is indeed beautiful. She is wearing a wig and looks almost doll-like. The large skirt flows as she walks and creates a anything-goes presence for Cléo. Screening Monday October 24 at 7pm. We learn that Cléo is a famous musician who became famous with the help of a young lover. It’s a telling choice in musical accompaniment at this early stage in the film because for Cléo time is running out. Cleo from 5 to 7 (1962) from Eighty Eight Takes 02:34 Cléo is overwhelmed by the song, finding it all too much, too close to her decaying bones, and … This scene combines multiple editing techniques that first create space and then instantly remove it. The frilly, silky, and lacey robe extends the idea that she is a perfect, angelic figure to be watched. Cléo is impacting French music through her work, and her life is constantly surrounded by music in the film. She says, “They’re only having fun. (aka Cléo de 5 à 7) In writer/director Agnes Varda's dramatic comedy (with some musical elements) - a meandering episodic character study about the impending doom facing a shallow, self-absorbed woman who feared the results of a medical examination: When Cléo walks the streets of Paris there is both diegetic and extra-diegetic sound. She recognizes that the gaze is broken as no one is looking at her any longer. Her clothes force people to recognize her for her beauty and not much more. She recognizes that the world is looking at her in her music and in the street so she feels the need to fill the expectations set for her. Lo Marshall researches urban geographies of gender and sexuality as a research assistant at the UCL Urban Laboratory and doctoral candidate at the Bartlett School of Architecture and Department of Geography, UCL. Paris and the people in it are going on with their day without acknowledging her presence. Cléo’s beauty is highlighted through editing and the theme of the gaze. The duality that defines Agnés Varda’s Cléo from 5 to 7 is present from, quite literally, its opening frames: a title sequence in which our protagonist goes for a tarot card reading, and the writer/director both lays out the themes that will consume her interest for the next 90 minutes, and sets a style of winking playfulness that would seem to run counter to the serious subject matter. As she sings about her body being ravaged by despair, a single tear rolling down her face, Cléo loses herself in the music and, since those around her on screen seem dismissive of her fears, turns to us, the viewer, in desperation for sympathy. The setting mirrors this constriction because she is in tight spaces such as hallways, crowded streets, and small stores. This is especially evident when Cléo is in the café, and no one recognizes her music when she puts it on. Cléo from 5 to 7, by Left Bank filmmaker and decidedly feminist voice Agnés Varda, tells the story of a spoiled pop singer, Cléo as she suddenly confronts a cancer diagnosis and the possibility of death. Her clothes represent how she has developed throughout the film from self-concerned to aware of her surroundings. The lack of color forces the viewer to acknowledge the emotions in the face rather than the colors associated with the moment. She feels free of people judging her, and the open scenery mimics this. Along with Corrine Marchand, Legrand was fresh off the set of. Cléo no longer wants to be watched and studied, but she wants to be acknowledged as a real human. The camera shows this by being in the top corner of the room and focusing on everything in the room. For the film’s original score Varda enlisted the composer and pianist Michel Legrand. Agnès Varda's Cléo from 5 to 7 is a quintessential component to the reverence of the French New Wave movement, but its favor of stylistic technique and transitory allusions over expanded characterizations breeds disparity. In another scene, she tries to take solace in café and, in a bid for what one assumes is a sense of relevancy, programs the very same song into the café’s jukebox. Each second of the film is spelled out for the viewer to clearly follow the progression of the film. The color is no longer overly-saturated, sepia tones but completely black and white. She even convinces herself after visiting the fortune teller that, despite her illness, if “[she is] beautiful [she is] more alive than others.” This apparent superficiality is reflected in the “disposable” yé-yé pop music she is heard singing, saccharine love songs with lush orchestration and wry titles such as “La joeuse” (“The Player”). Her lover, whom one assumes is a married man with little emotional investment in Cléo, can only offer the paltry consolation that “[her] beauty is [her] health.” When Bob is told about Cléo’s mood, he declares that music will soothe her and engages in a silly pantomime with Maurice. The song, an aria-style showpiece, opens with dramatic piano arpeggios in a minor key in support of a resigned melody and lyrics that describe the feeling of emptiness that results from being without one’s love. Bob and his songwriting partner Maurice (Serge Korber) arrive at Cléo’s apartment and are informed be Cléo’s maid, Angèle (Dominique Davray) that Cléo is feeling poorly. 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. Nonton Cléo from 5 to 7 (1962). The similarities between his death in war and Cléo’s death from cancer are prominent. Originally, Legrand was not considered for the role of Bob. Women were expected to look beautiful and wore modest dresses. Varda uses cinema verité documentary style to show the film in a natural light. The fear is also enhanced through her dim surroundings. Even more interesting is the fact that the viewer gets an excellent view of life in Paris for a beautiful, wealthy woman in the 1960s, but the film is shown in first person. She allows herself to feel happiness once she accepts that death might still be there (Powrie). 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