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 »
How do we understand faith and prayer, and what of miracles? August 1925 on a Danish farm. Patriarch Borgen has three sons: Mikkel, a good-hearted agnostic whose wife Inger is pregnant, ... See full summary »
Carl Theodor Dreyer
Emil Hass Christensen,
Preben Lerdorff Rye
Sometime in the early years of the century, a boy, Apu, is born to a poor Brahmin family in a village in Bengal. The father, a poet and priest, cannot earn enough to keep his family going. ... See full summary »
Edmund, a young boy who lives in war-devastated Germany after the Second World War has to do all kinds of work and tricks to help his family in getting food and barely survive. One day he ... See full summary »
A young woman, Karin, has recently returned to the family island after spending some time in a mental hospital. On the island with her is her lonely brother and kind, but increasingly ... See full summary »
Max von Sydow
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
It was rumored for years that the trailer for this film was by Jean-Luc Godard, and he has recently confirmed this by programming it in a self-curated retrospective of his work. The trailer is virtually a miniature essay on (or subversion of) the film, jarringly intercutting excerpts from it with a written commentary that calls it "Christian and sadistic". See more »
(at around 1 min) The canteen changes position after being dropped. See more »
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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