by Liz Delgado

Cléo from 5 to 7 (1962) filmed by Agnès Varda explores internal struggle with self-image and societal expectations of femininity during the 60s. Cléo is searching for an answer between 5 and 7pm. The audience follows her through her mental and physical conflicts. Although life is more than objectivity, it is an impact that many have grown to identify with. Cléo is an example of growth and strength combatting the lasting effects of positive and negative expectations.

The film has generated much attention. It has been criticized by many, yet Elizabeth Anthony is one that has brought up some important points. Anthony is head strong when writing about Varda’s choices and how her directive decisions have affected the perception of femininity during the time the film was produced. At the start of the film, we see that Cléo is a beautiful young woman, yet there is a mystery to her and what she is going through. “Cléo is the cliché-woman: tall, beautiful, blond, voluptuous” (Verda). Cléo is seen to be objectified and watched as she travels around town. She is intriguing yet there is not much known as to who she is, yet the audience is notified that Cléo is struggling with problems. The film captures many shots of when Cléo would observe herself in the mirror. Cléo’s gaze is searching and could be described as empty. It is symbolic because the film shows multiple scenes where Cléo is observing herself. When she looks, she is filled with other people’s opinions and critiques. At the start of the film, when Cléo observes herself in the mirrors she acts like her name, a goddess. “Cléo is capricious, superstitious, and overtly narcissistic. It is clear, however, that she behaves like a “goddess” because those around her have constructed her in this way. Like Narcissus, Cléo gazes at her reflection in store windows, pools of water, and a myriad of mirrors. She looks at herself so as to confirm what others see.” (Anthony 5). The audience notices that there is something missing from her life, that she is lacking passion, adventure and even life.

As the film progresses, Cléo is seen to grow out of her “Cléo” costume and chooses to change the way she is portrayed. “Midway through the film, she changes her costume, her attitude, and even her “outlook” and performs an alternate role” (Anthony 3). Cléo is a woman that many can relate to at this time. She chooses to shed her “Cleo” persona, someone who is watched and controlled. Anthony describes Cléo’s mother-like figure to be the one who directs Cléo. “In the opening scenes, Angèle is the one who sets the boundaries. While she occasionally yields to Cléo’s whims, she possesses an inexplicable power over Cléo” (Anthony 4). Even though this mother-like figure is trying to help Cléo, she is not allowing Cléo to fend for herself nor is she allowing her to develop a sense of independence. There comes a point when Cléo has enough and choose to take control of her situation. She shuts down Angèle’s remarks and chooses to wear what she likes, when she likes. Like to modern day femininity, there will always be a time where women will always be watched and criticized yet it is up to them to conform to their critiques or to disengage from their assumptions and remarks.

Cléo is a great example of the power one has over themselves. She is sick and awaiting a response from the doctors, yet we see that the true issue is how women are treated and how it effects their mental and physical health. Cléo’s worries have created a negative persona/ mental image towards herself. When Cléo goes off to an isolated part of the park, she is met with a man who sees more of her then she ever thought possible. He sees more than the physical, he allows her to come with conclusions that she would have never been allowed if it weren’t for the stillness and security that he provides. “As she reveals her given name to him – that of Florence – she unveils her new persona. Her Cleopatra-like masquerade becomes a memory as she assumes her role as “Flore, la déesse de printemps.” Thus, instead of “déesse” to “idée,” one could say that Cléo changes from one goddess to another. To be sure, the new Cléo, or Flora, embraces all that she once feared” (Anthony 7). Flora (Cléo) understands that there is no need to worry, for she learns who she is and what she can do, gaining independence and strength to overcome her fears and struggles.

When creating the film, Varda chooses to hire a beautiful actress to play the part of a young woman. Varda’s choices allowed people to view the film because she knew that the audience would gravitate towards an attractive young woman as a protagonist. Varda understood that her generation valued objectives rather the what the message was about. “If I could make Cléo about femininity and fear of death, it is because the girl was beautiful. If you told the same story about a 55-year-old lonely woman, who would care if she were dying of cancer and who would come to see the film.” (Verda). Having Corinne Marchand play the role as Cléo allowed Varda to reveal the film with a powerful and meaningful message towards women.

Works Cited

Anthony, Elizabeth M. “From Fauna to Flora in Agnès Varda’s “Cléo de 5 à 7” Literature/Film Quarterly , 1998, Vol. 26, No. 2 (1998), pp. 88-96. Salisbury University https://www.jstor.org/stable/43796832