Interesteg What makes it different from others?

Breakinger A Brilliant Conflict

Aedonerre I gave this film a 9 out of 10, because it was exactly what I expected it to be.

Brennan Camacho Mostly, the movie is committed to the value of a good time.

lreynaert This film, based on the novel by G. Bernanos, is a moving portrait of an outcast. Mouchette is a member of a poor family. Her mother is sick and her father survives only by poaching and smuggling. She is badly dressed and has no genuine footwear (a painted bird). She is continuously humiliated and insulted by other kids and by those who wield a certain power in the village, like her teacher or the 'Christian' bourgeoisie. Yet, she is the embodiment of real Christian virtues such as poverty and innocence. The purity of her feelings is beautifully illustrated in the sequence of the fair with its bumper cars. In her story 'That particular Summer', Marie Cardinal (who plays the mother in this movie) paints a far from hagiographic portrait of Bresson: an awkward, insufferable and callous man. Nevertheless, with his sober style, (apparently) without any passion and a far cry from big theatrical gestures, Robert Bresson created a really disturbing masterpiece. He stigmatizes in a fierce way the human community, which tramples mercilessly on the underprivileged. A must see.

chaos-rampant Among the best things that can happen to me as a viewer is to watch a filmmaker grow into mastery, and I've just gone through a series of viewing where Bresson grew before my eyes. He wasn't a master before Balthazar in my estimation but he was one now.See, he had started with ambitious work in Diary of a Priest, but something must have troubled him, the spiritual search was coming off as emotional anguish, resulting in sentimentality. His next three were all about finding ways to quell this, fasting the eye, muting the emotion. This is all the more reason to celebrate him, because it could have gone either way. He could have turned out film after film where he mutes expression and turns actors into bare stumps and called it pure. But if this was purity, where was the life in which the pure is woven through? Bresson matters I believe because he left the stone floor of his ascetic phase to grow into this, his sculpting phase.This is a sculpture of moving image and sound, even more so than Balthazar, even more purely about the rooms and spaces in which a young girl faces the duplicity of life. It's all in how he chisels the air with the camera, he does this in three parts. The day before, with its moments of small everyday cruelty and unexpected kindness alike. She has a beautiful voice but won't sing with her classmates until forced, a passing woman unexpectedly gives her money for the bumping cars, but her dalliance with a boy is cut short and she has to go sit with her father. It's heart-aching because all she needs is someone to mind her and no one does outside of making her behave how they want to, most of us have been savaged this way as kids.The night of unfathomable emotions out in the woods, and look how masterfully. Why she does what she does in the cabin, why she swears to protect his secret and professes love, perhaps intuitively protecting herself, perhaps asserting herself against authority, this is all as unfathomable as why the man goes back out to commit violence. It's all in that shot where the two men laugh, for no reason other than all this being absurd, beneath a dark sky, and the wind that blows all through the night.In the third part of the film we have the day after, with this complicated human nature brought to the stark light of what other people think. Bresson shows us judgment and cynicism, and even the old woman's advice about death is waved off; too musty for a young girl, more advice.So how poignant to see this shift in Bresson? He gives us by the end a more eloquent Jeanne D'arc, now the dogmatist interrogators become your small-minded neighbors and Joan is neither pure nor certain in any way about the truth of what she experienced. No ceremonial death. And how deep it cuts, that she may have wanted to ask her mother for advice, unburden the confusion, but has to go through it alone.So after a series of Bresson viewings, I will come to rest here. Antonioni would take home the Palm that year but Bresson had conquered his obstacles and arrived fully. The title of Tarkovsky's book best describes what he does here, and you can see the Tati influence as a new tool that he didn't have back in Pickpocket. He sculpts an external time, but now in such a way that the pure is found where it grows roots and rustles, among life.It would be Tarkovsky's turn now to shoulder this legacy, and Dreyer's, asking himself, what kind of time? We dream and yearn with an asymmetric logic and mingle with our reflection. It would be one of the great leaps in the cinema but for that we'd have to go forward.

mflamman Sublime film from Robert Bresson!Actually it was my first encounter with Bresson's work, five or six weeks ago. I was so eager to see it...Bresson's films ("Mouchette" and "Au hasard Balthazar") haven't disappointed me- to see the least!"Mouchette" is such a pure film, so sublime. So powerful. When I saw this film, it really blew me away totally. So overwhelming. But now, weeks after that experience (I saw that films more than once, btw) it's still beginning to gain more power and emotion."Mouchette" has such overwhelming, graceful, brilliant images, shots and scenes. The opening scene may be the best ever: brilliant and pure, it tells everything you will see in the next hour and twenty minutes. The use of the music, sublime sounds of Monteverdi, is unique, powerful and brilliant. No more than- what is it?- ten seconds or so it can be heard. The opening scene is so short...That's the power of Bresson: images, sounds, scenes are presented in such a brilliant way. When we are beginning to be attached to them, other images and shots are already presented. As a viewer, you can't really be attached totally by them. That's way these images, shots, scenes will be in your mind long after the film: all things, all scenes and situations, and especially all emotions (if they are shown at all) are shown in actually too short a time, that you, as a viewer, will be forced to "finish" them. You are forced to locate the emotions not shown, to locate the situations and details which are only suggestively shown. Bresson's editing is just brilliant, bt it may take some time before you are aware of that.Some of the most brilliant scenes ever are presented here: Mouchette, forced to go into church by her father; Mouchette's brilliantly and superbly simple introduction to the viewer. Most notable for me, besides the ending scene of course, is the scene with Mouchette in the dodgem cars, having her only small feelings of joy and relieve. The expressions and emotions shown in this really magnificent scene, maybe the best and most emotional I've ever witnessed, are to diverse to even describe them. Just watch this scene...Nadine Nortier, playing Mouchette, blew me away with her magnificent acting. So pure, sublime, graceful and heartfelt. One of the most striking peaces of "acting" I've ever seen...!This superb film will be in my mind for ever, just like "Au hasard Balthazar". Nobody, not even the best like Dreyer, Ozu, Bergman and Tarkovsky, can present stories, images and "emotions" in such a superbly simple, transcendental and pure way as Bresson.Masterpiece!

bateauivre11 Stories of childhood have often been tempered with the melancholic yearning of lost innocence (as in Louis Malle's Au Revoir Les Enfants) or the profound weight of human misery (as in Robert Bresson's Mouchette). -An opinion in a filme web - Director Robert Bresson disliked many things like, greed, shallowness, insincerity His filmes and his characters are surrounded by indifference,INJUSTICE and cruelty.and Mouchette the intransigent anti heroine of this remarkable filme knows about that.In one scene Mouchette said something,(to the man he later assaulted her), that really strikes me: `You can trust me ... I detest them' Every great film has its unforgetable moments in this one is Mouchette's night in the woods,and later over the edge and into the water… Mouchette went through a lot of bad things,the adults in this filme are just awful,one woman tells to her `You are bad.... You have evil in your eyes.' Bresson said: `Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations.' –That's it… the Master has spoken.