Sunday, April 24, 2011
Nudity should be for everyone like summer.
In the final scene of Cleo 5 to 7 Cleo and the man are walking together in the park everything is calm and easy going. Then, all of a sudden they take a turn and they are on the street with cars moving all around them. This is similar to what we want to do with the scenes before the car gets moving and once the car gets started. When the car is still in the parking lot the shots that we took are more still. But, once the car is moving there are quick turns around corners and the footage is a little shaky. When I watched it a even got a little car sick. The quick turns represent that feeling of awkwardness when you have a moment with a person that changes your relationship forever. You don't know where you are and you don't even know how it came to be.
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It would be interesting to look closely at what Varda's camera is doing at the transition you're talking about. The long tracking shots before that point produce this sense of "pregnant" anticipation (very quietly). And actually, a lot of the cinematography beyond that point (once on the streetcar) works through creative withholdings/abandonments of frame. What I don't recall, personally, is how this withholding bears back upon the slower walk through the park. There's a sense in which Cleo (and the soldier too) can only make a connection (romantic or otherwise) once it's too late. (The only character who takes her affliction seriously is a person who is himself about to face considerable physical/emotional risk--and this "taking seriously" isn't much manifested in direct conversational acknowledgements--it's more circumspect. It's worth considering how the composition/editing support this.
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CS