Mouchette is a young girl living in the country. Her mother is dying and her father does not take care of her. Mouchette remains silent in the face of the humiliations she undergoes. One ...
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A reconstruction of the trial of Joan of Arc (based entirely on the transcripts of the real-life trial), concerning Joan's imprisonment, interrogation and final execution at the hands of ... See full summary »
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,
Captured French Resistance fighter Lieutenant Fontaine awaits a certain death sentence for espionage in a stark Nazi prison. Facing malnourishment and paralyzing fear, he must engineer an ... See full summary »
Charles Le Clainche,
A young woman kills herself, leaving no explanation to her grief-stricken pawnbroker husband. We learn in flashback about how they met, married, and how she failed to adapt her lifestyle to... See full summary »
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Henri de Maublanc
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Laura Duke Condominas,
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 ... See full summary »
Guillaume des Forêts,
Rich young Anne-Marie thinks she has found her vocation when she joins a Dominican convent as a novice. The convent specialises in rehabilitating female prisoners, and Anne-Marie becomes ... See full summary »
Mouchette is a young girl living in the country. Her mother is dying and her father does not take care of her. Mouchette remains silent in the face of the humiliations she undergoes. One night in a wood, she meets Arsene, the village poacher, who thinks he has just killed the local policeman. He tries to use Mouchette to build an alibi. Written by
Never before has cinema been this simple and honest. No one makes films with more emotion than Bresson and no one puts less emotion in their films than he. I could cite so many Bressonian cliches and talk of his uniquely personal style which by 1967 was firmly established, especially since he had abandoned the voice-over he used in the 50s. I will point out his use of sound and approach to acting which remain so distinctive and by now so familiar. There is nothing in Mouchette that is new, especially after Balthazar, what remains is the story of Mouchette, told with the utter grace and passion that makes this film a masterpiece that transcends technique, even cinema itself, and makes most cinema look frivolous in the process.
Finally I must mention the films ending, which I rank with that of Balthazar as the most beautiful I have seen.
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