Rich young Anne-Marie thinks she has found her vocation when she joins a Dominican convent as a novice. The convent specializes in rehabilitating female prisoners, and Anne-Marie becomes especially fascinated with Therese, trying to get her to join the convent to redeem her for her sins — but Therese protests her innocence. However, when released, Therese shoots the man who committed the crime for which she was imprisoned, then joins the convent, where she is reluctant to tell anyone her secret, least of all Anne-Marie. Meanwhile, outside the convent, a police search is widening… —IMDb
Often described as a “painter” of films, French director Robert Bresson was one of cinema’s greatest anomalies. He directed only 13 films over the course of 40 years, but these films were in a category all their own, minimalist works that tended towards radical (and sometimes controversial) reinterpretations of such classical sources as Diderot, Dostoyevsky, and Tolstoy. An expert manipulator of narrative incident, Bresson focused on seemingly incidental details of the stories he told and used amateur actors (whom he called ‘models’) lacking any trace of theatricality, creating searching meditations on the quality of transcendence, spirituality, and alienation. Of the artistic influences inherent in his work – perhaps most apparent in his belief that the cinema is a fusion of music and painting, not the theatre and photography – Bresson once said “Art is not a luxury, but a vital necessity.”
The year of Bresson’s birth has often been subject to debate; his biographer, Philippe… read more
In his astonishing first feature, Bresson established his unique style of Christian parable with this film about an order of Dominican nuns devoted to aiding women just out of prison. Centre stage is the character of Anne-Marie, an enthusiastic novice nun who makes it her mission to save an embittered woman on the run after committing murder. Beautifully shot in gorgeous monochrome, this is one of Bresson's finest...
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. Read More: http://aestheticsofthemind.wordpress.com/2012/05/01/les-anges-du-peche-angels-of-the-street/
A look at the second, revised edition of James Quandt’s crucial anthology, Robert Bresson.
The complete retrospective will carry on touring North America through May.
Introducing a new series of essays on the “tightly-packed excess” of Robert Bresson.
The Poetry of Precision: The Films of Robert Bresson is the first complete retrospective in North America in 14 years.