I found the second act of this series somewhat more compelling. It certainly wrestled more with the ideas of the ways in which institutionalized religion often turns on it’s own heroes. That was compelling. The lead is strong, the minimal sets and the economy of storytelling are honorable yet are perhaps detrimental to it’s artistic impact.
More of the same except Jeanne gets to merge smokily with God. Really the part of the story of Jeanne d'Arc that is genuinely the most important story to me of all stories is the story that begins after her capture. We get there (somewhat laboriously). In my assessment of part one I invoked late-Rossellini. Here blocking brought to mind cinema of the early 1910s (plus Lubtchansky's sophisticated, ultra-modern gaze).
The superior entry in Rivette's epic take on the Joan of Arc tale. Bonnaire is magnificent here as a woman prisoner of her faith before being betrayed by it. Wisely avoiding the large scale recreations and concentrating on the intimate the film weaves its power. Cinematography is aces.