Tag Archives: bresson

Elegy of a Voyage (Sokurov, 2001)

As with Russian Ark, Sokurov creates an all encompassing atmosphere through narration and open form montage, yielding a sense of presence throughout the film. Open montage, the use of nondescript (yet no less arresting nor beautiful), non representational images, which … Continue reading

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The Double (Ayoade, 2014)

Unique and aesthetically interesting. A mechanical future-present a la Terry Gilliam’s Brazil meets the dystopic shadows of German expressionism; an image which at once speaks to Kafka, Orwell, and other literary narcissists.  At times, the overtly stylistic maneuvers becomes obnoxious, … Continue reading

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Boyhood (Linklater, 2014)

Coming from a secularist, Boyhood is a surprisingly poetic film. Linklater is not known for crafting highly aesthetic or spiritual films, but the means by which he weaves in philosophy and questions the meaning of life is a method of … Continue reading

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Bresson, Ranked

“Make visible what, without you, might perhaps never have been seen.” Bresson’s style of accentuating minimalist details — closing up and slowing down on body parts or material items — repletes his films with a transcendental slowing down of one’s … Continue reading

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Au Hasard Balthazar (Bresson, 1966)

It seems rather fitting that I end this retrospective by watching Bresson’s Au Hasard Balthazar (1966). A retrospective is to look back on a person’s work, and Au Hasard Balthazar is concomitantly both the first Bresson I ever saw, and … Continue reading

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Lancelot du Lac (Bresson, 1974)

Lancelot du Lac (1974) is the last feature film of Robert Bresson that I am to see (although I have yet to re-watch and review Au Hasard Balthazar [1966]). Set in the medieval age, the story tells of the Arthurian … Continue reading

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Les dames du Bois de Bologne (Bresson, 1945)

Les dames du Bois de Bologne (1945), his second feature, is unlike any other film by Robert Bresson. Frankly, it is his most conventional film, besides the (short) slapstick comedy, Public Affairs (1934). There is little if no poetry, subtext, … Continue reading

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Les anges du péché (Angels of the Street, Bresson, 1943)

Bresson’s first serious work, Les anges du péché (1943), is all but missing his ascetic film tendencies. While absent is Bresson’s stylized punctuation — elliptical scene cuts, meticulous sound edits, and hauntingly poetic images — the film retains his sensibility. … Continue reading

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Mouchette (Bresson, 1967)

Mouchette (1967) tells the heart-wrenching story of a young girl tragically forced to grow up too soon. With a dying mother, alcoholic father, and a baby brother to take care of, Mouchette (Nadine Nortier), a mere teenager, is trapped in … Continue reading

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Diary of a Country Priest (Journal d’un curé de campagne, Bresson, 1951)

A performance of austerity on the subject of austerity. A filmmaker practices austerity to create art; a priest (Claude Laydu) practices austerity to instill faith: both seek to fluorish growth amidst the people. The ascetic habits and characteristics of the … Continue reading

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