A band-aid on Anne Wiazemsky's leg in Robert Bresson's Au hasard Balthazar (1966); cinematography by Ghislain Cloquet.
Bresson, whose control of his films' visual field is nearly unparalleled—do we have a detail here lost in the mystery of "intentionality"? Did the young actress merely bandage her leg, a material object from real life transposed to the fiction of cinema? Or is this one of hundreds of unnoticed small decisions Bresson makes to center his images with trembling intensity? (Or is it "transcendental"?)