1.0NW Aalsthttps://nw-aalst.be/en/rich600338<blockquote class="wp-embedded-content" data-secret="um9DSqd8Th"><a href="https://nw-aalst.be/en/film/cleo-de-5-a-7/">Cléo de 5 à 7</a></blockquote><iframe sandbox="allow-scripts" security="restricted" src="https://nw-aalst.be/en/film/cleo-de-5-a-7/embed/#?secret=um9DSqd8Th" width="600" height="338" title="“Cléo de 5 à 7” — NW Aalst" data-secret="um9DSqd8Th" frameborder="0" marginwidth="0" marginheight="0" scrolling="no" class="wp-embedded-content"></iframe><script> /*! This file is auto-generated */ !function(d,l){"use strict";l.querySelector&&d.addEventListener&&"undefined"!=typeof URL&&(d.wp=d.wp||{},d.wp.receiveEmbedMessage||(d.wp.receiveEmbedMessage=function(e){var t=e.data;if((t||t.secret||t.message||t.value)&&!/[^a-zA-Z0-9]/.test(t.secret)){for(var s,r,n,a=l.querySelectorAll('iframe[data-secret="'+t.secret+'"]'),o=l.querySelectorAll('blockquote[data-secret="'+t.secret+'"]'),c=new RegExp("^https?:$","i"),i=0;i<o.length;i++)o[i].style.display="none";for(i=0;i<a.length;i++)s=a[i],e.source===s.contentWindow&&(s.removeAttribute("style"),"height"===t.message?(1e3<(r=parseInt(t.value,10))?r=1e3:~~r<200&&(r=200),s.height=r):"link"===t.message&&(r=new URL(s.getAttribute("src")),n=new URL(t.value),c.test(n.protocol))&&n.host===r.host&&l.activeElement===s&&(d.top.location.href=t.value))}},d.addEventListener("message",d.wp.receiveEmbedMessage,!1),l.addEventListener("DOMContentLoaded",function(){for(var e,t,s=l.querySelectorAll("iframe.wp-embedded-content"),r=0;r<s.length;r++)(t=(e=s[r]).getAttribute("data-secret"))||(t=Math.random().toString(36).substring(2,12),e.src+="#?secret="+t,e.setAttribute("data-secret",t)),e.contentWindow.postMessage({message:"ready",secret:t},"*")},!1)))}(window,document); //# sourceURL=https://nw-aalst.be/wp-includes/js/wp-embed.min.js </script> https://nw-aalst.be/wp-content/uploads/2026/02/Cleo-de-5-a-7-3.jpeg1499843Cléo de 5 à 7 (1962) is one of Agnès Varda’s most iconic films and a key moment within the French New Wave. In real time, the film follows the young singer Cléo as she wanders through Paris, waiting for the results of a medical examination. Those two hours—from five to seven—expand into an inner odyssey, where fear, vanity, and existential doubt gradually give way to attention and openness.  Varda masterfully plays with time and subjectivity: the clock ticks inexorably, yet Cléo’s experience of time is fragile and elastic. What begins as a portrait of a woman being observed gradually becomes a portrait of a woman who begins to observe herself. Cléo de 5 à 7 is an intimate female portrait, a temporal snapshot of Paris, and a film about how vulnerability can transform into awareness.