Exceedingly beautiful direction, powerfully acted, and irresistibly present. Cléo from 5 to 7 was simply incredible. My first Varda, and my 4th or 5th french new wave film in general, this is the first to really strike an emotional cord with me. Breathless, Eyes Without a Face, Belle de Jour, Le Samoraï I enjoyed to some varying degree, counting especially Melville’s stylish and subdued contract killer who gains a conscious as a favorite, but Varda hits a still deeper note here.

There’s a sense of urgency spelled out from the opening scene, where we as an audience are made aware of Cleo’s potential demise, that leads to every following moment, whether merely listening to the war report in taxi or enjoying a brandy in an old, favored bar, to be filled with psychological dread. Each passing face plastered with paranoia as Cleo struggles through a normal routine. The consistent pace works in this favor as well. This hurried  pace, despite the relaxed actions of Cleo’s privileged lifestyle, play out in increasing stages of transition. Cleo, who we are introduced to as being childlike in her perspective and caretaking abilities, detaches from herself and folds into the crowd. 

Varda’s camera movement is downright modern, and follows an ethos of self reflection. At every point, specific choices are made to frame Cleo and our perspective of how she is viewed, both by herself and others. Initially as a doomed victim, then a spoiled brat, a nobody in the crowd, an admirer/voyeur of “other” beauty, and lastly a whole individual, capable of both mastery and intelligence, with passionate knowledge to share and a daring attitude deserving respect. 

Perspective, perspective, perspective. Cléo from 5 to 7 is filled with perspective over death and culture, living and legacy, patience and payoff. Firmly a favorite of mine, a film that embodies every reason I love the art form and continue to watch.