Produced by Mag Bodard
Music by Jean-Michel Defaye
Cinematography by Claude Beausoleil and Jean Rabier
Editing by Janine Verneau
Production design by Hubert Monloup
Costume design by Claude François
Set design by Joseph Gerhard and Charles Merangel
Starring Jean-Claude Drouot, Marie-France Boyer,
Claire Drouot, and Sandrine Drouot
But the most interesting thing about this piece is that it feels as if the photography is telling the story. Cinema before this movie was either black and white, or a dreamy Technicolor, while here it's in bright crisp Eastmancolor which looks more real and current than anything that preceded it. And it wouldn't be for another 25 or so years that color would be used so vividly and game-changingly again. This movie because of its colors symbolizes the transition into a new era of cinema, a more real and pertinent cinema. And Varda doesn't let the opportunity to honor such a turning-point go to waste. While we sit in wonder and awe at the beauty offered to us, we desire more, that's why we continue to watch to the end. Cleverly, the characters share our desires, wanting to maximize their paradise: more beauty, more love. And through this rare and thorough personification of characters, we receive a flood of meaning. We witness the struggle between tradition and modernity, country life and city life, faithful monogamy and free love, having your cake and eating it, and the happy moment versus the bleak progression of time. This movie is also about how the tender and beautiful often die while the cheap and faithless often live long. It's a modern spin on Shakespeare's Hamlet and Murnau's Sunrise. Color-wise and editing-wise, it also serves as Varda's knockout punch against Godard's Le Mepris. It plays like a ballet, or a music video, like flipping through a photo album, like a stroll through a Monet exhibit, or like the haunting memories of a person with a guilty conscience. The scene with the still photograph is one of the most powerful moments in cinema.
The title translates from the French to "Happiness".
In the end, this movie is a poem. Conner is the lover sharing with us the beauty of his beloved and how his love for her centers around her life and freedom.