Cleo, who aspires to be a singer, has just released three songs and has achieved little success in her singing career. At this stall, she found that her lower abdomen often hurts, and she has a hunch that she has cancer. The doctor's official examination results will not come out until this evening. Cleo has been waiting for two days, and the waiting time is extremely difficult. Anthony said that it was the summer solstice, the longest day of the year, and it was also her longest day for Cleo. In order to ease her anxiety and fear, Angela, the personal housekeeper, recommended her to see a fortune teller. The movie starts with divination. The fortune teller made predictions about Cleo's talents, the nobles in his career, the diseases he will encounter, and the possible complete transformation and people he will meet. These predictions are also the details that the movie will show one by one. The fortune-teller looked at Cleo's palmistry and secretly believed that she had cancer and that she was dying soon. Cleo cried at the prediction of her death. But the fortune-teller begged her not to cry, otherwise the customers waiting outside would think she was a crow's mouth and affect her business. She wiped away her tears, adjusted her makeup, and walked out of the fortune-telling room as if nothing had happened. Except for the first three minutes or so, the film is in color, and the rest is presented in black and white images. The simplicity and calmness of black and white can help the audience to calm down and feel the transformation of Cleo's heart from extreme narcissism to growth of self-consciousness. Quoting the famous photographer Jian Qingfu: color Form is often the appearance of objective objects, and black and white performance is the refinement and abstraction of the objective world, which seems to be closer to the true meaning of life... Although the 90-minute film has thirteen chapters, it can be roughly divided at 45 minutes. Divided into two. In the first half, Cleo is caught in the excessive self-concern, walking on the bustling street, enjoying the gaze of male passers-by, but her eyes are empty, like a wandering soul. She kept looking in the mirror, the mirror in the hallway of the fortune-telling room, the makeup mirror she carried with her, the fitting mirror in the hat store on the street, the bathroom, the wall, the dresser, the bed at home, checking her appearance anytime, anywhere to avoid Exposing her shortcomings, she sees her in the mirror is what others expect from her image and beauty. Beauvoir said in "Second Sex": "Women believe in the magic of mirrors, trying to identify themselves with the self-image in the mirror as the other that reflects her self. This kind of woman is deeply intoxicated by the self-image in the mirror. In an attempt to create a "dual self", the dreamlike "self" and the "two self" of "other self" can be synthesized, such as "freedom" and "self"." The people around her are also a mirror of her behavior. Angela, who was sitting beside her, looked like an overseer who treated Cleo as a child. Remind her not to wear black clothes on Tuesday, not to wear new things, to go out to take a taxi with a lucky license plate, not to drink coffee, not to mention her illness to a man, otherwise the man will avoid you like a plague. Her boudoir is empty, with a bed, dresser, mirrors of various sizes, and also functions as a workout, reception room, and workshop. In the empty space is her closed heart. None of the people around really cared about her. When Josh, a wealthy person in his career, came to see her, not only did he not ask for warmth, but threw away the hot water bottle in her arms, and asked you why it is not uncomfortable or uncomfortable? In the eyes of the composer Bob, Cleo is a spoiled child who needs the attention of others all the time, so he went upstairs to tease her with the whole farce. When Cleo sings the sad song "Love Cries" that accurately describes her desperation, she can't continue to deceive herself any more, she tells Bob and Morris, you just want to drain me, everyone spoils me , but no one loves me. She put on a black dress, took off her wig, and decided to go out alone, just like the awakened "Nala" in Yipsen's writings, and she said to Angela: Let's go to hell on Tuesday. Mu Xin mentioned in "Literary Memoirs" that there are four events that will have a crucial impact on the transformation of young people's lives, and death and disease are two of them. Cleo is constantly eroded by the fear and despair of getting cancer. The advent of the disease prompts her to reflect on the passive self-deception "he and me" and urge her to change. Only at the moment of life and death have enough reasons and motivation to make a complete change, she changed from "being watched" to "active" watching. Enter the second 45 minutes. Cleo walked downstairs, took a photo of himself on the window glass of the Quinta Hotel, and finally woke up and said, "I can't see my own fear on this baby's face. I always thought everyone was looking at me, and I I didn't see anyone but myself. On the street again, Cleo began to take the initiative to look at the passers-by, the performances of the jugglers; walking into the cafe, she carefully observed other customers and listened to them. Several guests mentioned the model Dorothea, who also happened to be a friend of Cleo's, and Cleo immediately got up to visit her on an impromptu basis. The camera footage continues to advance from Cleo's perspective. This should be her first visit to the sculpture room, and she found the atmosphere here to be unexpectedly calm. Seeing old friends, mentioning his physical discomfort, the possibility of cancer, and his fears, is so relaxed and natural, which is a completely different contrast to Josh before. And Dorot is a simple, easy, independent sample of life. She does not live in the eyes of others and the society Feedback says being a mannequin is simply a job that makes her happy and pays her. Driving to work by himself, getting along with his boyfriend Raoul is also comfortable and relaxed, and helping him carry film films, and wanting Cleo's felt hat is also a direct expression. She is like a light butterfly, and the way she gets off the taxi, crosses the street and goes up the stairs is like a butterfly flying. Dorot and what she'd seen along the way made Cleo relax, and her anxiety and fear subsided. Going down the stairs from where Raoul works, the vanity mirror that was accidentally broken, and then the shattered glass window on the street, Cleo interprets it as an ominous omen, but I think it's her escape from extreme narcissism and passivity." He and I" symbol. She asked the taxi driver to drive into the park of Montsouris, which she often passed by but never set foot on, in order to continue to discover the active self in the simple life. The driver who had not walked this road said optimistically: "The most fine is, it will not be sentenced to death..." Walking into the park to meet Anthony, Cleo naturally talked about his illness and inner fears. Anthony responded to a similar situation. He was going to Algeria tonight to face the possible death of the war. He offered to accompany Cleo to the rehabilitation hospital to get a medical report. Along the way, he talked about his grandmother and various plants. As well as being familiar with Montsourly Park, these have helped Cleo further open up the world, know herself, and know life. What's wrong with Cleo, whether he can recover from 2 months of treatment, whether he can grow a proactive self to become the finished "Nala", Agnès Varda has no answer, this is exactly on the record Sexual "realism" because she can't represent life's solution. Movies are long, but Cleo's life goes on, reality is unknowable, and the future is worth looking forward to based on performance so far. The French "New Wave" advocates "realism" and uses "real scenes", and opposes studio shooting. As the "Mother of the New Wave", Agnès Varda's work clearly interprets the "realistic" spirit of the "New Wave". She boldly and innovatively used the "realism" of a documentary to shoot a feature film, using a long lens to record the street scene in Paris from 5:00 p.m. to 6:30 p.m. The expression of the story is light, natural, delicate, and not advertised. It successfully transforms the abstract consciousness and psychology of a woman into an intuitive and easy-to-understand image language. Colin McCabe said when discussing the French New Wave film: "Documentary and feature film intersect with each other, and if shot properly, they become one thing." The film won the Palme d'Or at the 15th Cannes Film Festival in 1962 Award nomination.
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