A fun little film, full of all the experimenting and love of films and filmmaking that embody the French New Wave at its best. So playful and so fun. The ending, which is obviously on our minds a lot as the film rolls out, is exceptionally well handled and somehow manages to be satisfying despite both possible endings on paper seeming, in their own ways, unsatisfying. The film is in a way more intelligent than its playful and souffle like outer shell lets on.

A must see if you adore French New Wave. Though Cleo is the boring/ cliche/ uninvolving woman role, the cinematography is top notch.

Thank you, Agnes, for letting me be in room with Corinne Marchand for 90 minutes without pause. That should get the message through to everybody looking: always look at the bright side of things. Corinne finds some kind of bright side of mortality, so how could I ever find darkness in anything just because of my everyday problems? Ps. Fuck, those new wave basterds knew who to work a camera.

Many of the films shortcomings can be forgiven by a pervading sense of giddy experimentation. Cleo herself is an annoyingly vacant dame, and her lenghty doe-eyed ruminations and blank stares almost had me surprised that she wasn't drooling and asking for hugs throughout the movie. But around her, Varda tries out a lorryload of nifty tricks and gimmicks, lending the film it's refreshing playfulness. If you're not into the french new wave, though, definitely leave this one on the shelf.

The tracking shots really make me want to visit Paris.

554

Stunningly beautiful, filled with soul, unbelievably brilliant in action, design and scope.

Guided by the kinetic forces of elegant tracking shots and busy editing (not to mention a ticking clock), Cleo runs a gauntlet of various characters, a marathon on the Paris streets that reflects her internal journey toward a meeting with mortality. She's not a typically sympathetic protagonist, suffering from bouts of melodrama and self-absorption, but by the end she reaches a point of clarity. It's also a great time capsule documenting the height of news, fashion, and culture in 1960s Paris.

#531

Evocative, understated and immersed in a quiet power, Cleo de 5 a 7 is pretty much a perfect French film. It feels confessional, and makes the relatively mundane completely mesmerising - much like 'Le Feu Follet' by Louis Malle. the street and car scenes are particularly imaginative and, what's more, the whole thing is absolutely beautifully shot. Early Anna Karina popping up as well. There is a scene in a hat shop which has so much use of mirrors in a clever way, my brain malfunctioned!

# 461

Really simple story that was totally original for the time. The camera work is incredible. Varda could've stopped here and contributed more to cinema than most directors ever have. Very overlooked movie from the french new wave

A breath of fresh air.

Kind of like taking a pleasant stroll.