Back

Does Cléo from 5 to 7 have end credit scenes?

No!

Cléo from 5 to 7 does not have end credit scenes.

Cléo from 5 to 7

Cléo from 5 to 7

1962

In this poignant drama, enigmatic pop star Cléo navigates a existential crisis as she awaits the outcome of her medical test. Her self-absorption is slowly shed as she meanders through Paris, encountering friends who fall short and a war-weary soldier who reveals the true cost of conflict. As their paths converge, Cléo's perspective shifts, revealing a path towards humility and peace.

Runtime: 90 min

Box Office: $1.9K

Language:

Directors:

Genres:

Ratings:

Metacritic

87

Metascore

tbd

User Score

Metacritic
review

92%

TOMATOMETER

review

89%

User Score

Metacritic

7.9 /10

IMDb Rating

Metacritic

77.0

%

User Score

Check out what happened in Cléo from 5 to 7!

As Cléo Victoire (Singer) sits across from the mystic tarot card reader, she's met with a somber prophecy: an evil force lurks in her life, and a doctor awaits with a perilous task. The seer also foresees an encounter with a chatty young man on the horizon. But it's the cards that truly unsettle Cléo - The Hanged Man signals impending doom, while Death itself looms large, prompting Cléo to despair of her fate. Despite the reader's reassurances that Death can signify profound change rather than mortality, Cléo is consumed by the specter of disease.

In a state of distress, Cléo confides in Angèle (Maid), recounting the tarot card reading's ominous revelations. As they sip coffee at a local café, Cléo confesses her intention to take her own life if she indeed harbors cancer, her emotions overwhelming as she cries. The proprietor, moved by her plight, offers solace with a soothing brew, while Angèle tries to comfort her friend. Later, the two women embark on a hat-buying excursion, where Cléo impulsively purchases a black fur chapeau, disregarding Angèle's warnings about its unsuitability for summer weather. As they depart, Cléo becomes fixated on wearing the hat home, but Angèle cautions against donning something new on a Tuesday, citing the superstition that it would invite bad luck.

As they hail a taxi to return to their residence in time for Cléo's rehearsal, the radio broadcasts news of the Algerian War, casting a somber tone over their ride. The female driver muses about the perils of her occupation, and Cléo and Angèle engage in conversation, discussing the dangers that come with being a woman behind the wheel. As they near their destination, Cléo begins to feel queasy, attributing her discomfort to her illness.

Upon arriving home, Cléo struggles to breathe, prompting Angèle to suggest some exercise to alleviate her symptoms. Just before Cléo's lover arrives at the building, Angèle discreetly advises Cléo not to reveal her condition to him, warning that "men hate illness." The lover, a man consumed by his duties, drops by for a brief visit and departs, leaving Cléo feeling unfulfilled as she asks if they can plan a vacation together. When Cléo confesses her illness to him, he dismisses her concerns with a flippant remark, further disheartening her already fragile state of mind.

As the curtains closed on her tumultuous romance, Cléo's world is invaded by the uninvited arrival of Bob (pianist) and Maurice (songwriter), who descend upon her abode under the guise of medical professionals. Their flippant ruse, born from the notion that "all women like a good joke," falls flat in the face of Cléo's turmoil. As they begin to rehearse some of her songs, the atmosphere darkens precipitously with the haunting melody of "Sans toi." Cléo interprets the song as a scathing critique of her existential fears, and her mood descends into despair as she lamented being loved only for her material possessions. With a heavy heart, she departs, leaving the trio to their artistic endeavors.

The streets become her refuge, where she stumbles upon a street performer's bizarre act of swallowing frogs and regurgitating them with an eerie precision. Her melancholy is momentarily lifted by the familiar sounds emanating from a nearby jukebox, as she selects one of her own songs and watches the apathetic reactions of the café patrons. Undeterred, Cléo seeks solace in the sculpting studio, where her old friend Dorothée (model) is posing nude for an art class. As they discuss their respective views on body image, Cléo confides in Dorothée about her impending fate, waiting with bated breath for a test result that may seal her mortality.

As the day wears on, Cléo and Dorothée find themselves at the cinema, where they observe a silent comedy film featuring Jean-Luc Godard (actor) and Anna Karina (actress). The poignant scene unfolds as Karina's character meets a grisly demise, leaving behind a bereft Godard. However, upon removing his dark glasses, reality shifts, and the scene is replayed with a decidedly more lighthearted tone. This cinematic interlude serves as a fleeting respite from Cléo's existential anxieties.

As they exit the cinema, Cléo's premonitions are fueled by an accidental mirror shattering, which she perceives as an ominous harbinger of doom. Her fears are momentarily allayed when Dorothée reveals that the broken glass was actually an omen of a tragic event that had unfolded at the nearby café – a sobering reminder that sometimes, the universe has more sinister plans in store. With this unsettling revelation, Cléo and Dorothée slip into a taxi, their conversation tempered by the somber realities of life.

As the taxi departs with Dorothée in tow, Cléo instructs the driver to take her to Parc Montsouris, a serene oasis amidst the bustling city. It is here, amidst the lush greenery and tranquil atmosphere, that she encounters Antoine, a weary soldier on leave from the Algerian War. As they engage in conversation, Antoine shares his insight that June 21st marks the longest day of the year, a poignant observation that serves as a backdrop for their introspective exchange. Cléo, baring her soul to this empathetic stranger, reveals her true identity as Florence and confesses her deep-seated fear of her illness. Meanwhile, Antoine's sensitive nature is stirred by their conversation, prompting him to ponder the cruel futility of dying in war.

As the pair continues to converse, Antoine asks Cléo to join him at the train station, offering to accompany her to the hospital for her test results if she agrees to be his traveling companion. At the hospital, they find that the doctor who was supposed to reveal their fate has already departed, leaving them to wait in uncertainty. Undeterred, Cléo and Antoine take a seat on a bench outside, where they strike up a conversation with the doctor as he drives by in his car. The news is not what Cléo had expected: while her condition is indeed positive, it is not without hope, as two months of radiotherapy will help alleviate her symptoms.

In this moment of revelation, Cléo's fear seems to dissipate, replaced by a sense of acceptance and gratitude. Antoine, too, appears to be touched by their shared experience, expressing his reluctance to leave her side. Cléo reassures him that he is indeed with her in this present moment, and the two share a warm, understanding smile, their bond forged in the midst of life's uncertainties.