Le Bonheur 1965 [verified] -

: This research explores how Varda uses "pictureness"—such as shallow focus and chromatic dissolves—to link the film’s exurban setting to 19th-century Impressionism as a way to critique capitalism and the oppression of women.

– The new wife (the mistress) wearing the dead wife's dress, smiling with the children. An interesting review would ask: is this tragedy continuing or has she already been erased into a role? le bonheur 1965

: A central feminist critique in the film is the "interchangeability" of Thérèse and Émilie. Varda emphasizes this through mirrored sequences of their hands performing domestic tasks, suggesting that for the protagonist François, the specific woman is less important than the function she provides for his happiness. : This research explores how Varda uses "pictureness"—such

: After François confesses his affair during a family picnic, Thérèse drowns in a nearby pond. : A central feminist critique in the film

The story follows François, a carpenter who lives in idyllic happiness with his wife, Thérèse, and their two children. François is so full of "happiness" that he decides he has enough to share, beginning a seamless affair with a postal worker named Émilie. In his mind, he hasn’t betrayed his wife; he’s simply added another flower to his garden. Subverting the Gaze