Agnes Varda’s 1962 film Cléo de 5 à 7 explores female identity and the stereotypes impressed upon women by male dominated mid-century society. In the two hour window of Cléo’s life presented by the film, we see a transformation from “a position of masquerade and nonidentity to subjectivity” (Mouton, 2001). The recurring imagery of mirrors and reflection highlights Cléo’s obsession with superficial beauty: her existential fear of cancer is surpassed only by her fear of loosing her beauty — “As long as I’m beautiful, I’m alive”. Varda’s film is certainly characteristic of the existentialist and especially the feminist movements of its time.