When Resnais or Godard use a series of fragmented shots, they do it with a purpose that is visually cumulative; the whole sequence will stand for more than any one or two of its parts; style and content are inextricably linked…. [In Le Bonheur] fragmentation is simply a method of varying the presentation of a series of pretty pictures. It is style for style's sake: a symptom of all that is wrong with Varda's picture. (p. 200)
[With] every shot, reality recedes a little further from Varda's grasp. The film begins and ends with a picnic (picnics or making love or both are François's characteristic ways of being happy), and the very first scene is shot to extract, at least to some extent, a...
(The entire section is 779 words.)