The French New Wave revolutionized cinema, giving directors creative freedom to break from traditional storytelling. It embraced realism, using non-professional actors, natural dialogue, and innovative techniques. Agnès Varda’s 1962 film Cléo from 5 to 7 exemplifies this movement, blending experimental filmmaking with a deep exploration of identity and perception. Varda’s film challenges gender norms by portraying a woman’s transformation through a female gaze.
The film follows Cléo as she navigates Paris, awaiting medical results that could change her life. Through real-time storytelling, handheld cameras, and symbolic imagery, the narrative follows Cléo’s journey of self-discovery, breaking away from her superficial identity to embrace a more authentic self.
Perception of Time
The story takes place over a two-hour period (which in fact is only 1.5 hours, but Cleo from 5 to 6.30 doesn’t sound as appealing), following Cléo as she navigates Paris while waiting for her test results, which she fears will confirm a terminal illness. Varda manipulates time to mirror Cléo’s psychological state. This subtle distortion of time enhances the protagonist’s sense of unease, as moments stretch and contract depending on her emotional state.
At the beginning, Cléo walks down the stairs on loop, symbolizing the cyclical nature of self-reflection and how she is metaphorically descending into reality. While the time in the film is linear, long shots emphasize the weight of waiting, making moments of fear and boredom feel eternal. Conversely, when Cléo begins to undergo an internal transformation, time seems to move more fluidly, highlighting her growing acceptance of uncertainty.
Cléo’s Transformation
At the start of the film, Cléo embodies the archetype of the glamorous yet superficial woman, an objectified image of femininity that society expects. She is dressed in white, signifying purity and innocence, yet her behavior suggests she is trapped in the role of a passive, beautiful object rather than an autonomous individual. She is constantly seeking validation, whether through her music, appearance, or the men in her life. However, as the film progresses, Cléo’s transformation is visually represented through costume changes and symbolic imagery.
The moment she removes her wig and changes into black clothing marks a pivotal shift in her character. This act is symbolic, representing the shedding her artificial persona and embracing something more authentic. Black, traditionally associated with mourning, signifies her confrontation with mortality, but it also represents maturity. By abandoning her carefully curated image, Cléo takes her first steps toward self-liberation. This transformation is further emphasized through her interactions with Antoine, a soldier who introduces her to a different perspective on life. Unlike the men she encountered earlier, Antoine treats her as an equal, not just a decorative figure.
Feminist Perspectives and the Female Gaze
As a feminist filmmaker, Agnès Varda brings a distinctly female gaze to Cléo from 5 to 7. The film challenges traditional representations of women in cinema, moving away from the male-centric narratives that dominated the industry. Instead of presenting Cléo through the perspective of men, Varda allows the audience to experience the world through Cléo’s eyes.
One of the most striking feminist aspects of the film is how it portrays Cléo’s realization that she is more than just an object of beauty. Early in the film, she passively allows herself to be observed and admired, reinforcing the stereotype of women as mere spectacles. However, as she moves through Paris, she begins to assert her agency, actively engaging with her surroundings rather than just existing within them. The film subtly critiques the societal norms that define women’s worth based on appearance, emphasizing that true identity lies beyond superficial beauty.
The absence of the Eiffel Tower in the film is another significant feminist choice. Traditionally, the Eiffel Tower serves as a symbol of Paris, but it also represents a phallic, masculine presence. By excluding it, Varda shifts the focus away from conventional, male-dominated imagery and instead highlights a more authentic, everyday Paris as seen through a woman’s eyes, such as capturing Musee d’Orsay instead.
Cinematic Techniques
Cléo from 5 to 7 is a quintessential French New Wave film, breaking away from classical Hollywood filmmaking to embrace experimental techniques. Varda utilizes jump cuts, handheld cameras, and real-life settings to create a documentary-like realism that immerses the audience in Cléo’s world. These techniques not only enhance the authenticity of the film but also challenge conventional storytelling methods.
One of the film’s most memorable scenes is when Cléo watches a silent short film, a technique known as mise-en-abyme (a film within a film). This moment serves as both a playful nod to the self-referential nature of cinema and a commentary on how art reflects life. It suggests that storytelling is boundless, reinforcing the idea that film is an art form open to endless interpretation and reinvention.
The use of organic lighting is another notable technique. In the scene on the bridge where Cléo stands with Antoine, the dim lighting creates a naturalistic effect. The handheld camera during the final scene, as Cléo hears her diagnosis, adds an element of raw realism, making the audience feel as if they are experiencing her emotions alongside her.
Symbolism and Metaphors
Varda infuses Cléo from 5 to 7 with rich symbolism, reinforcing its deeper themes. Mirrors play a crucial role in the film, representing Cléo’s evolving self-image. Early in the film, she constantly admires herself in reflective surfaces. However, when a mirror shatters later in the film, it serves as a metaphor for the breaking of her old identity. This symbolic moment marks a shift from passive self-obsession to active self-exploration.
Music also serves as a powerful metaphor. Cléo’s song “Sans Toi,” performed in a dimly lit room, contrasts her glamorous appearance with melancholic lyrics. This juxtaposition highlights the dissonance between how she presents herself and how she truly feels. Her eventual refusal to continue performing reinforces her rejection of the artificial persona she once embraced.
The journey itself acts as a metaphor for personal growth. By walking through Paris, interacting with various individuals, and facing her fears, Cléo gradually transforms. The act of movement reflects her inner journey, from passive object to active subject, culminating in her acceptance of life’s uncertainties.
Final Thoughts
Cléo from 5 to 7 is far more than a film about a woman waiting for medical results; it is an existential exploration of time, identity, and self-perception. Agnès Varda masterfully blends narrative depth with innovative cinematographic techniques to create a film that challenges traditional storytelling norms while offering a profound commentary on the female experience.
By rejecting the traditional, male-dominated cinematic gaze, Varda crafts a film that centers on female agency and self-discovery. Through its real-time structure, symbolic imagery, and feminist themes, Cléo from 5 to 7 remains a landmark film in both the French New Wave movement and feminist cinema. It captures the beauty of transformation, illustrating that identity is not fixed but an evolving journey shaped by time, experience, and self-reflection. Ultimately, the film teaches us that while we may not have control over life’s uncertainties, we can embrace them with newfound awareness and authenticity.
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Love for film has always been a family thing - cozy evenings watching something we’re truly invested in, discovering new directors, and obsessively bingeing entire filmographies (latest fixation: Andrei Tarkovsky and Pedro Almodóvar). My parents introduced me to the world of cinema through Django Unchained and Apocalypse Now, that is when I realised what films can be…it’s a canon event. I studied Economics and Philosophy at the University of Manchester but squeezed in a year of Film Studies because, well… cinema. I love the way films make you feel and I definitely believe that we have different views hence different reviews. While cinematic masterpieces exist, the ones that truly matter are the ones that stay with you long after the credits roll. Beyond my TikTok and Instagram film pages, I lift, paint, play instruments, and (questionably) did ballet. Creativity shapes how I see film. Favourite 4: Back to the Future, Stalker, Poor Things, Spirited Away.