Robert Bresson, The Sublime Minimalist Part 8
Au hasard Balthazar (1966)
Full Review: https://goo.gl/o0IVZF
Recently I rewatched Au hasard Balthazar the third time, it is a restored version screened in theater instead of the old decent Criterion DVD I have owned for couple of years. Should I use the (overused) word “transcendent” to describe the experience? Frankly, I don’t know. The film is beyond sheer comprehension, and I find myself approaching Bresson’s film empathetically instead of analytically, relying on sensibility rather than intellectuality. Thereby I’m often bewildered by the relevant essays written by film scholars and how they analyse and speculate the associated elements of the film as an art, an art that Bresson called “cinematography” and took it as a form of writing in comparison to “cinema” which, under the eyes of Bresson, is a photocopy of theater and a false art. Pragmatically, one not necessarily arrive a consensus with the man behind the camera before immersing completely in the film. The ellipses and the use of offscreen sound are the exemplary style of Bresson, but without knowing it, one could still enjoy the film. With a masterpiece like Au hasard Balthazar, the enjoyment is accomplished through suffering.
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