Extreme corporeality in "Happiness" (1965).

Agnès Varda (yes, my favorite female director, so what!) approaches the formation of the characters' everyday life with extreme caution. She uses three primary colors (blue-red-yellow), shakes them up and spills them onto the picture, whose color expression resembles avant-garde canvases. It's no coincidence that one of the stamps features Chagall, although here the emphasis is more on the plot.

Moreover, building a new "family nest" from white walls is extremely symbolic. It feels as if the director places a woman at the head of the house, and it doesn't matter how closely related she is to the family.

There is a feeling that with such striking precision and romanticization, only a feminist-female-French director can describe the world.