Tags :: Robert Bresson
Pickpocket (1959)
Does Michel want to be caught? Does he taunt the inspector because he feels untouchable, or is there another reason? As always, Bresson examines actions but offers little attention to motives, an approach that here seems to suggest that Michel’s choices may be a mystery even to himself, his threadbare theorizing only rationalization.
Lancelot of the Lake (1974)
More, it is a tale of fellowship undone not first of all by the treachery of enemies but by the frailty of human nature itself, even of the most trusted intimates. Perhaps that’s partly why classic Hollywood forayed more successfully into Sherwood Forest and Zorro’s California than Camelot.
Au Hasard Balthazar (1966)
A stark, unsettling vision of human cruelty, folly, and destructive behavior, leavened by an icon of innocent suffering, Au Hasard Balthazar may be Robert Bresson’s most poetic, haunting, personal work — the culmination of the filmmaker’s style and concerns, the most "Bressonian" of films.
A Man Escaped (1956)
As he did in his prior Diary of a Country Priest, Bresson faithfully adapts his source material, but he also appends a subtitle to A Man Escaped — The Wind Blows Where it Wills, an allusion to Jesus’ discourse in John 3 about being born of water and the Spirit — and rechristens the protagonist (whose real name was André Devigny, and is played by François Leterrier) “Fontaine,” fountain. Clearly, like Diary, A Man Escaped is intended as a reflection on spiritual bondage, rebirth, and the mysteries of grace and providence, as much as about stone walls and iron bars.
Diary of a Country Priest (1951)
Faithfully adapting its source material, Catholic novelist Georges Bernanos’s fictional autobiography of a soul, the film profoundly contemplates the spiritual meaning of suffering and persecution, conversion and incorrigibility, and the dark night of the soul with a rigor and insight evocative of Augustine’s Confessions or Thérèse’s Story of a Soul.
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