She jump cuts from the car to the worry on Cléo and Antoine’s face. Mirrors are used to highlight her own self-absorbed state. The day is marked by war in Algeria, farming She becomes more human in the process. After Cléo meets Antoine, the viewer learns that her real name is Florence. Movie: Cleo From 5 To 7 (Cleo De 5 A 7) (1962) info with movie soundtracks, credited songs, film score albums, reviews, news, and more. The viewer feels concern and dread following the tarot reader scene because Varda uses jump cuts from Cléo’s perspective and to look at her face. Cléo is impacting French music through her work, and her life is constantly surrounded by music in the film. Every step she takes is precisely mapped out throughout the film, so Cléo is developed in a realistic setting. Music is obviously important to Cléo as she is a famous pop-artist. Writer-director Agnès Varda is seldom mentioned among the first-rank French New Wave directors for any number of reasons: Her career both precedes and postdates the New Wave, she married the decidedly non-New Wave director Jacques Demy (The Umbrellas Of Cherbourg), and her films are overtly concerned with feminist issues usually neglected by other New Wavers. She recognizes that the gaze is broken as no one is looking at her any longer. She recognizes that the gaze is broken as no one is looking at her any longer. The white robe flows as she sits on the swing. Along with Corrine Marchand, Legrand was fresh off the set of. While life is going on in Paris, she is struggling to face the results of her biopsy (Hagopian). 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. This is the first time the viewer begins to understand who Cléo is. Whilst in a taxi she becomes embarrassed when her song is heard on the radio and refers to it as awful. Her thoughts allow the viewer to better understand Cléo as a character. The music is very French and highlights the French culture of the time. Immediately after this, the camera cuts quickly to the reader, and she asks, “Are you sick?” Cléo responds yes. The park setting allows Cléo to truly be herself, and she also meets Antoine who will be the first person she feels happy with in the film. She looks at herself in the stream, but the image is contorted. The masks are out of place for Paris and bring fear to Cléo. However, the cards are shedding light on her imaginary future and are shown in color. Death seems to be all around her, and the viewer can see that she is nervous about her results. It is easy to feel Cléo’s emotions because of how close you become to Cléo. The mise-en-scene of the film as a whole is very natural. She is not alone at the beginning but always surrounded by people and things. It feels as if the first outfits were faked and what she thought people expected her to wear. French new-wave heroine Agnès Varda’s 1962 film Cléo from 5 to 7 follows Cléo (Corinne Marchand), a pop singer, for 90 minutes of her day. 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. Varda creates space with the camera, indicating that Cléo does have lots of time and space to do as she pleases. She no longer relies on the close watch of the males around her but wants to be regarded as an equal (Bassaler). Antoine accompanies Cléo to the hospital and the pair our told by Cléo’s shockingly nonchalant doctor that she must begin treatment for cancer. Have a look below to see the official soundtrack list for the 2014 romance movie, 5 to 7, including scene descript The viewer hears what she hears, sees surroundings as Cléo does, and is able to feel as Cléo does through Varda’s editing techniques. However, halfway through the film – after the “Sans Toi” song – she breaks out of the constrictive environment and explores Paris and the parks. Cléo from 5 to 7 is also, in its sly way, a musical (shades, of course, of Demy’s work)—and no scene is more lyrical than the one in which Varda’s careful mise-en-scène transforms Cléo’s clowning around and casual run-through of “Sans toi” (Without You) with Bob (Michel Legrand, the film’s composer) and Plumitif (Serge Korber) into a full-out musical number, only to snap instantly back, at the end of the … The lighting of the film in its whole creates a natural feeling. It’s a telling choice in musical accompaniment at this early stage in the film because for Cléo time is running out. After she storms out of her rehearsal, she changes into a slim black dress, removes her wig, and puts on sunglasses. After Cléo meets Antoine, the viewer learns that her real name is Florence. Cléo’s thoughts are also present throughout the film. The music adds to the mood of the scene. Varda was trying to create a connection with the art of the film (Cléo’s story) and reality (news). Varda innovatively spells out her past and future in one scene. For example, at the hat store, she thinks to herself, “Everything suits me,” while looking into the mirror. She becomes more of an individual rather than a construct of society. 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. 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”). He fears not just that he might die, but that he is risking his life for nothing. The first person narrative allows us to see the world as Cléo does. A chronicle of the minutes of one woman’s life, Cléo from 5 to 7 is a spirited mix of vivid vérité and melodrama, featuring a score by Michel Legrand and cameos by Jean-Luc Godard and Anna Karina. Cléo from 5 to 7 is a 1962 French Left Bank film written and directed by Agnès Varda. The camera focuses solely on the hands and cards of the reader, indicating how seriously Cléo takes card reading. A piano or violin is often heard throughout the film. 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