Cleo from 5 to 7 is our first film directed by a woman. In addition it has a female protagonist. But does that mean this film has a feminist perspective? Are there any feminist ideas in this movie and if so what are they? Are there any elements in this film that might preclude or at least challenge a feminist interpretation?
The film Cleo From 5 to 7 by Agnès Varda introduces a feminist perspective into the male-dominated film industry by challenging women's traditional roles and redefining female beauty to empower women.
ReplyDeleteThe first feminist perspective in the movie is introduced by the female taxi driver Cleo and her maid encounter at the movie's beginning. While being a cab driver is a male-dominated profession, the female taxi driver takes pride in her job and reveals that she enjoys its dangers. However, when Cleo asks her if she is scared at night, the female taxi driver responds, "Scared of what?" (Varda). While women are typically portrayed as fragile and in need of male support, the female taxi driver shows that women can be independent and fearless without a man's help. Her seemingly uncharacteristic actions as a woman that challenge the patriarchy (male-dominated society) offer a feminist perspective to the movie.
The second feminist perspective is portrayed by the actions and dialogue of Cleo's friend Dorothée, who models nude for artists. When Cleo asks her why she participates in such an exposing activity, Dorothée tells Cleo, "my body makes me happy, not proud" (Varda). While Cleo is used to being objectified by men and the music industry, Dorothée believes her body is much more than her physical appearance and the superficial opinions of society. Dorothée's de-objectification of her body introduces another feminist perspective into the movie because her statements symbolize women reclaiming the right to appreciate their body by their standards and not the patriarchal society's standards.
Finally, Cleo's character growth throughout the movie embodies the feminist perspective of being oneself and not what society expects one to be. At the beginning of the film, Cleo is constantly conscious of her physical appearance and even believes that "ugliness is a kind of death." She associates her value with her beauty, and that toxic sentiment is reinforced by her community that constantly praises her beauty. Additionally, when Cleo tries to mention that she is sick to her initial boyfriend, he brushes her off and believes that she is worrying too much. While Cleo really is ill, her initial boyfriend believes that her beautiful outside appearance is the only indication of her well-being, reinforcing that Cleo's value is solely connected to her outward appearance. However, Cleo's initial ideology changes as the movie progresses, and she realizes that her beauty will fade away someday. Like Dorothée, Cleo learns to dissociate her body from being an object to society's expectations. Consequently, Cleo's growth represents feminist ideology as she has found self-worth in herself and not from society's validation of her outward appearance.