7.8/10
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30 user 68 critic

Mouchette (1967)

Not Rated | | Drama | 12 March 1970 (USA)
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 ... See full summary »

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Writers:

(novel), (scenario & adaptation and dialogue)
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5 wins & 1 nomination. See more awards »
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Cast

Complete credited cast:
Nadine Nortier ...
...
Marie Cardinal ...
Paul Hebert ...
Mouchette's Father
Jean Vimenet ...
Mathieu - gamekeeper
Marie Susini ...
Mathieu's wife
Liliane Princet ...
Schoolteacher
Suzanne Huguenin ...
Undertaker
Marine Trichet ...
Luisa
Raymonde Chabrun ...
Grocery Shop-owner
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Storyline

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 Yepok

Plot Summary | Add Synopsis

Genres:

Drama

Certificate:

Not Rated | See all certifications »
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Details

Country:

Language:

Release Date:

12 March 1970 (USA)  »

Also Known As:

Amor e Morte  »

Filming Locations:


Company Credits

Production Co:

,  »
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Technical Specs

Runtime:

| (VHS)

Sound Mix:

Aspect Ratio:

1.66 : 1
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Did You Know?

Trivia

1967 Prix Georges Méliès, and 1967-1968 Prix Inter-Club du Cinéma, both awarded in Paris. See more »

Goofs

(at around 1 min) The canteen changes position after being dropped. See more »

Connections

Referenced in Santa Susana (2007) See more »

Soundtracks

Magnificat
Written by Claudio Monteverdi
Performed by Les Chanteurs de St. Eustache
Conducted by R.P. Émile Martin
See more »

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User Reviews

 
A genius at his most beautiful
18 December 2000 | by (Adelaide, Australia) – See all my reviews

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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