• It’s a companion piece to Cleo from 5 to 7, probably still Varda’s greatest work. Here though, unlike with Cleo, her subject is truly unexceptional- not a beautiful pop-star (she’s a hobo here). Unlike Cleo lost in a sea of people she is on her own. It’s still a meditation on death (having this told in flashback knowing of her demise changes the entire narrative—such mystery, tragedy and immediacy like Cleo which basically starts with a death sentence given out by the Tarot-card reader)
  • Structure is a splintered flashback from other people’s interviews like Citizen Kane– very well done- a brilliant choice- gives immediacy to whole thing
  • Varda’s most neo-realistic film—harsh rural setting like Antonioni’s Il Grido– frankly her character is the same too a series of bristly interactions for a person that cannot cope—matching the landscape- grey, cold and rough – she scowls and barks the entire film
  • There are a few nice dolly shots of the location, then it goes to her interactions (mostly pretty contemptuous) and then to the flashback interviews in structure
  • There’s some male gaze like Cleo
  • I think it clearly influenced the work of the Dardenne’s and von Trier though his female protagonists are more clearly the victim set amongst vipers
  • Again as far as character she is not someone with hidden talent or special- a true nobody or everywoman– and I think that was a goal of Varda
  • I guess after her trio of other films- La Pointe Courte, Cleo and Le Bonheur I was disappointed in the photography. That’s a high-bar but it’s not on that level and that’s why this isn’t in the MP or MS category. I like the dedication to the neo-realism and the creative narrative structure
  • HR