Il significato dei colori in Le Bonheur

Abstract

The article is dedicated to the analysis of Varda’s work, Le Bonheur (1965). The montage, seemingly totally unrelated to the plot, is a demonstration of how much Varda’s work speaks in symbols: in a film in colour, the colours themselves are the best symbols available for the creation of a narrative parallel to that of the facts, a narrative that is at times autonomous and so coherent that it can even be traced in sequences not directly shown by the director.