Cléo de 5 à 7 (Agnes Varda, 1962) is unique in its dedication to chronology. Where another film would employ cutaways or flashbacks to provide context, Cléo de 5 à 7 introduces each of its characters and their respective narratives without any spatial or temporal disruptions. In maintaining this strict realism, Cléo de 5 à 7 is especially effective in its development of a sense of foreboding. A weaker director may have relied on a flashback to Cléo’s medical exam two days prior in order to establish the fragility of the singer’s existence, but Varda chooses instead to invest fully in realism, the film taking on an almost documentary-like style. As a result, the breaks in temporal rigidity are especially affective, drawing on the disconnect between clock time and subjective duration identified by Henri Bergson (Bannister 2016), and marrying Cléo’s mortality with our own.