‘Bresson Part II’
Robert Bresson’s films “as we see them and as we remember them,” Michael Wood writes, “are often astonishingly different from each other; they appear almost unrelated. My experience of watching Mouchette, for example, was one of unrelieved gloom, because I felt Bresson’s only achievement was to have perfectly conveyed the dingy horror of his fourteen-year-old main character’s existence. By the next day the film had changed shape in my mind. It was full of varied questions about the world that had seemed monotonous, and I kept thinking of the heroine’s sullen courage—she was a heroine for me now, and not just a sufferer.”
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