How unusual to see a woman’s perspective on love presented so plainly as Varda does in La Pointe Courte. Released in 1955, the film is radical in its deconstruction of feminine desire and ennui.
This film is *alive* in its height and depth. It's geometric but it's neither cold nor angular... It doesn't matter if that kind of a statement is impressionistic or unfalsifiable. That's not the point. The point is that the greatest cinema (and sometimes just merely interesting cinema) is always redefining what we think we know, see, hear, and feel--right there, before us, and we're enthralled if we allow it. Varda is one of the top tier of French cinema's giants ...
Despite the fact that Varda was inspired by a literary work, the film is startlingly cinematic, relying wholly on the visual as a source of meaning. Its script is not “wordy,” even though some of its most beautiful scenes borrow colorful phrases and dialogue directly from the locals (in one, an older woman talks about her life, and exclaims that she has already “shit out half of it”). The film is deliberately composed, and Varda demonstrates early on her intentionality and control of the frame.