| Dorothée Blanck | ... | L'amoureuse (as Dorothée Blank) | |
| Antoine Bourseiller | |||
| André Rousselet | |||
| Jean Tasso | |||
| José Varela | ... | Lover | |
| Monika Weber |
Directed by | |||
| Agnès Varda | |||
Writing credits(in alphabetical order) | ||
| Agnès Varda | narration of opening chapters "Quatrains" | |
Original Music by | |||
| Georges Delerue | |||
Cinematography by | |||
| Sacha Vierny | |||
Film Editing by | |||
| Janine Verneau | |||
Other crew | |||
| Michel Janin | .... | trainee | |
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| Love Is the Devil: Study for a Portrait of Francis Bacon | Ceux qui m'aiment prendront le train | Sans toit ni loi | Les témoins | Little Ashes |
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| Full cast and crew | Company credits | External reviews |
| IMDb Short section | IMDb France section |
The movie is a feast for the eyes, we stroll through a French town from the perspective of a pregnant woman. It would be interesting to know whether Agnes Varda, the director, was herself pregnant during the shooting or editing of this movie. The images flow in groups of different types, for example, there are set of images organized by the shape of the images, there are sets organized by similar movement, there are sets organized by meaning. It is all very hypnotic. There is also a surprising amount of nudity for the year of its production. As far as my experience goes, it has more nudity than any movie before it and any movie after it until 1966's "I am Curious-Yellow". This movie reminds me of the experiments made during the early days of the movie camera and also the early avant-garde movies of France and Russia. It's well done, but it doesn't offer much beyond what those earlier movies achieved.
Also the original soundtrack is a unique and interesting counterpoint.