A forged 500-franc note is cynically passed from person to person and shop to shop, until it falls into the hands of a genuine innocent who doesn't see it for what it is - which will have ... See full summary »
Sylvie Van den Elsen,
The plot couldn't be simpler or its attack on capital punishment (and the act of killing in general) more direct - a senseless, violent, almost botched murder is followed by a cold, ... See full summary »
Pretending to be Mohsen Makhmalbaf making his next movie, Hossain Sabzian enters the home of a well-to-do family in Tehran, promising it a prominent part in his next movie. The actual ... See full summary »
Bob, a old gangster and gambler is almost broke, so he decides in spite of the warnings of a friend, a high official from the police, to rob a gambling casino in Dauville. Everything is ... See full summary »
The sad life and death of Balthazar, a donkey, from an idyllic childhood surrounded by loving children, through adulthood as a downtrodden beast of burden. His life is paralleled with that of the girl who named him, and as she is humiliated by her sadistic lover, so he is beaten by his owner. But he finds a kind of peace when he is employed by an old miller who thinks he is a reincarnated saint... Written by
Michael Brooke <email@example.com>
Balthazar was an untrained donkey during most of the filming, which made Bressons's work a real challenge. The only scene for which the donkey was trained was the circus math trick. See more »
The "for Sale" sign that is on the fence when Balthazar runs through the gate is different to the one seen in close-up. Also, when he runs through the gate, the sign is in shadow but in close-up it is in full sun. See more »
He is in despair. Comfort him.
[Marie's father turns away]
You must forgive. Everyone. Much will be forgiven you. You have suffered.
I may suffer less than you think.
God does not foresake forever. He may punish, yet he will have compassion. H does not willingly afflict the children of men.
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The film's ending is one of the most memorable in cinema, and achieves an eerie grace, consistent with its almost unique tone - allusively Biblical and allegorical, yet resistant to specific meanings and interpretations. The plot is a narrative of human cruelty and escalating despair, but always with enough mystery in the motivation to ward off easy condemnations; and perhaps even to indicate divine guidance. Throughout, Wiazemsky seizes on the donkey as a symbol of transcendence(her mother calls it a saint in the end); it's formally christened at the beginning and undergoes something approaching a formal funeral, all of which gives its life the contours of a spiritual journey of discovery. The narrative encompasses both revelations (the interlude in the fair; new tortures like the mean old man who starves and beats him) and retrenchment; both life's austerity, its roots in servitude, and its enormous potential dignity. Never was a donkey filmed so evocatively
but as always with Bresson, the simplicity is thrilling too - there's no
false artistry here; no dubious anthropomorphism. A necessary film, and I'm amazed that I'm the first one to be commenting on it here.
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