The ‘dreamer’ is Jacques, a young painter, who by chance runs into Marthe as she’s contemplating suicide on the Pont-Neuf in Paris. They talk, and agree to see each other again the next night. Gradually, he discovers that her lover promised to meet her on the bridge that night, and he failed to turn up. Over the next couple of nights, Jacques falls in love with her – but on the fourth night her original lover returns… –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
Visconi's Le Notti Bianche which personally I think is better than Bresson's. My excuse relies on the poetic realism on the novel which finds more suitable the set and the acting of the movie Bresson, as an extreme and innovating director points out the cynic aspect of the novel. In his own particular idiom, he directs the amateur actors in a completely abstractive manner and leaves so much for the audience to ponder
As a fan of Visconti's Le Notti Bianche I was eager to see what Bresson could do with his adaptation of the same original material, Dostoyevsky's White Nights. As I expected, Bresson's no-frills approach contrasted wildly to Visconti's opulent studio creation but that's not to denigrate his achievement. His muted style works beautifully for this story about the fragile nature of love set in a dreamy nighttime Paris..
Panahi completes another “effort” under house-arrest, Lincoln debuts at NYFF, Dennis Lim looks at the work of Ben Rivers & more…
A look at the second, revised edition of James Quandt’s crucial anthology, Robert Bresson.
Also: Early word on new projects from Hong Sang-soo, Sofia Coppola and more.
The complete retrospective will carry on touring North America through May.
Tracing Bresson’s audio-visual sensibility back to the formally-ambitious film comedies of the early 1930s.
Introducing a new series of essays on the “tightly-packed excess” of Robert Bresson.
A look at the best posters for the films of Robert Bresson, to coincide with the Film Forum retrospective.
The Poetry of Precision: The Films of Robert Bresson is the first complete retrospective in North America in 14 years.