Word: bressons
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DIED. ROBERT BRESSON, 98, acclaimed film director whose emphasis on image over dialogue helped redefine French cinema; near Paris (see Eulogy...
...Hollywood style--brash, chatty, muscular--is the only one most moviegoers know. But there is another, sparer sort, where penetrating gazes take the place of explosive technical virtuosity. It is caviar to the Hollywood popcorn, and for 40 years ROBERT BRESSON was its finest and most influential purveyor. In 13 features from Les Anges du Peche (1943) to L'Argent (1983), the Frenchman who called himself a "jolly pessimist" went his own thorny way and, through his severe, seductive example, established the dominant style of a minority art form. His films, with little dialogue and music, are in effect silent...
...black (Chris Rock)--Dogma is a tortured testament from a true believer. In an age when not only belief in God but belief itself brings a smirk to hip, jaded faces, this is a film out of time, the most devout movie in a modern setting since Robert Bresson's Diary of a Country Priest (1951), and a worthy successor to The Last Temptation of Christ, Martin Scorsese's 1988 parable of doubt purified into faith. Love Dogma or dismiss it, but don't condemn the film for what it isn't. As Ben Affleck, one of the zillion-dollar...
...Dogme spreads beyond art houses, it will be not because it suggests a vital new way to make pictures, but because today's directors feel crushed by technological gimmickry. The camerabatics of the French New Wave, the anti-dramatic films of Bresson and Antonioni, the nonlinear experiments of the American avant garde--each of these was a revolutionary call to arms. Dogme is a call to disarm, to strip away the veneer, to walk without crutches supplied by Industrial Light & Magic. Unabashedly reactionary, Dogme loves innocence; it aims for a primitive purity. "Filmmakers and filmgoers are yearning for something else...
...herdsman who befriends Xiu Xiu. But the movie is more than a star-is-born showcase. This story of a girl who rolls down the slope of degradation, and finally has no power but to choose her own grim fate, is a worthy cinematic sister to Mouchette, Robert Bresson's great document of adolescent despair...