La fotografa Agnés Varda passò al cinema per
girare La Pointe Courte (1954) in diretta
(two reunited lovers in a Mediterranean fishing port, a precursor
of the nouvelle vague),
e alcuni cortometraggi documentari.
Cléo de 5 à 7/ Cleo from 5 to 7 (1962), realizzato per le strade di Parigi, fa coincidere tempo di proiezione e tempo di narrazione, racconta cioè due ore della vita della protagonista.
They go to a boutique where Cleo can't resist to try some clothes. They take a taxi to her friend's place. The radio is playing a song recorded by Cleo herself, who obviously must be a professional singer. At her friend's place they are joined by Cleo's lover, who tries in vain to console her. She is gorgeous and aware that people spoil her but don't love her. Her two funny young composers show up and present their new song to her, but any sad word makes her cry.
She dresses in black and walks outside alone. She feels that everybody is staring at her.
She walks into the studio of sculpture students. The model who is posing naked is a friend whom she has not seen in a while. The model invite her for a ride in her boyfriend's car: she just learned to drive. Cleo tells her of her illness. The model drives to her boyfriend's cinema, where he is projecting a silent slapstick. Then the girls stumble into the scene of a murder. They take a taxi and part. Cleo walks alone in a park. A stranger approaches her, trying to strike a conversation. He's a soldier on his last day of leave. They become friends and he takes the tram with her to the hospital. It is 7pm but the doctor has already left. Cleo is shocked that he would leave without telling her that she has cancer. They find him outside while he is driving away: Cleo has nothing serious. What is more important is that Cleo has finally found someone who cares for her: the soldier.
Ironically, it is the soldier who might die. He is headed for a war zone.
La crisi della coppia diventa il tema preferito della Varda: Le boneur (1964) e Les creatures (1966), centrati sulla denuncia dell'egoismo maschile, manieristici congegni fotografici.
Il documentario Daguerneoty pas visita i negozi della via dove Varda abita, portando alla luce la popolazione dei negozianti.
Sans toit ni loi (1985) specula sulla morte di una ragazza vagabonda.
Jacquot de Nantes (1991) is de facto a biography of her husband Demy.
Les Glaneurs et la Glaneuse/ The Gleaners and I (2000) is a documentary inspired by Jean-Francois Millet's painting "The Gleaners and I" (1857).
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