Jim Jarmusch

- Permanent Vacation

1980

Aki Kaurismäki

- Drifting Clouds

1996

Prométhée... banquier, Marcel L'Herbier 1921

At Eternity's Gate (1890) by Vincent van Gogh.

L'Argent (1983) by Robert Bresson.

L’argent / Money Robert Bresson. 1983

Bank 20bis Av. Mac-Mahon, 75017 Paris, France See in map

See in imdb

Robert Bresson, L’argent (1983).

Robert Bresson’s “L’Argent” May 18, 1983.

Christian Patey in L'Argent (Robert Bresson, 1983)

Cast: Christian Patey, Vincent Risterucci, Caroline Lang, Sylvie Van den Elsen, Michel Briquet, Béatrice Tabourin, Didier Baussy, Marc Ernest Fourneau, Bruno Lapeyre. Screenplay: Robert Bresson, based on a story by Leo Tolstoy. Cinematography: Pasqualino De Santis, Emmanuel Machuel. Production design: Pierre Guffroy. Film editing: Jean-François Naudon.

When does style become mannerism? And why is it that style is generally thought of as a good thing, and mannerism is often a pejorative? I found myself pondering these questions while watching Robert Bresson's last film, L'Argent. Bresson is one of the directors I most admire, so my first impulse is to admire L'Argent as a superb example of Bresson's austere style: his willingness to let the audience decide what's going on within the characters by restraining his actors' displays of emotion, the simplicity of his mise-en-scène, his use of ambient sound to do the job that other directors rely on musical scores to accomplish. He has a fascinating premise to explore in L'Argent, which he adapted from a story by Tolstoy: the horrible repercussions of the passing of a counterfeit bill by some schoolboys. They spend the bill in a photography shop, buying a picture frame mainly to get some real money in change. When the fake bill is discovered, the shop owner passes it off in payment to Yvon (Christian Patey), the young driver of a heating-oil delivery truck. When Yvon is arrested for passing counterfeit money, he identifies the clerk at the photography shop, Lucien (Vincent Risterucci), who gave him the money. But Lucien perjures himself, saying he had never seen Yvon before, so Yvon is convicted. Though he's given a suspended sentence, he loses the job that he needs to support his wife and small daughter. Unable to find work, he agrees to act as the getaway driver for an acquaintance who's robbing a bank, but is caught and thrown into prison. Life in prison does him no good, especially after he learns that his daughter has died of diphtheria and his wife has decided to start a new life. When he lashes out at a fellow inmate he is thrown into solitary. He attempts suicide, but survives and returns to prison where he finds that Lucien is also an inmate, having robbed the photography store and become rich through various forms of larceny. Embittered, Yvon serves out his term and is released, but he continues his descent into criminality, murdering the keepers of a small hotel and robbing them, and finally finding shelter with an elderly woman (Sylvie Van den Elsen), whom he also murders, along with her entire household. At the end, he confesses and is returned to prison. Bresson's dry, understated telling of this story gives it a kind of dreamlike matter-of-factness that a more florid and violent version couldn't achieve. But there are also moments when you become aware of the way Bresson is telling the story, moments in which, I think, style becomes mannerism, especially if you've seen enough Bresson films to recognize his particular way of dramatizing events. For example, there is one scene in which the camera focuses on a passageway in the Paris Métro: What we see for a long time (perhaps only seconds, but it feels longer given our natural impatience to want things to happen in a movie) are the foot of a stairway, the concrete floor and tiled walls, and the beginning of a passageway to the trains. Bresson holds on this empty space as we hear the train arrive and the doors open and people make their way toward the space, through it, and up the stairs past us. He stays on the space until people -- they are Lucien and two of his friends -- come down the stairs past us and enter the passage. We hear the train doors close and the train depart, and only then does Bresson cut to the platform and the train entering the tunnel. It's a moment of no real narrative importance, but Bresson's holding us there as it happens crafts a kind of suspense, a kind of anxiety of the quotidian that informs the entire film. The only problem I have with the scene is the way it sticks in my memory as an inflection of style. And remembering this moment at the expense of others more important to the theme and narrative of L'Argent makes me think of it as mannered. While it's still a fascinating and challenging film, Bresson's deadpan actors and his focus on emptiness lend themselves easily to caricature and parody, and I think he carries them too far in L'Argent, never finding the balance that make his masterworks -- Diary of a Country Priest (1951), A Man Escaped (1956), Au Hasard Balthazar (1966) -- such essential films.

L'argent (1983) Robert Bresson.

Robert Bresson

- L'Argent

1983

l'argent, marcel l'herbier 1928

578 to go

Kind Hearts and Coronets (1949, dir. Robert Hamer): With Alec Guiness playing eight different roles I kind of expected this movie to be wackier but it was still great fun. 

L’Argent (1983, dir. Robert Bresson): This is very sparse, minimalist filmmaking and it’s an approach I can appreciate but something about this movie just left me kind of cold. 

Withnail & I (1987, dir. Bruce Robinson): I don’t understand the appeal. Also this movie has the most aggressively predatory gay character I think I’ve ever seen in a comedy? Gross. 

Broadcast News (1987, dir. James L. Brooks): I love this kind of romance where it’s about more than just the love story. I might also be in love with Holly Hunter now.

The Wolf Man (1941, dir. George Waggner): The main character is a monumental creep, I feel like maybe he deserves to be cursed actually.

Hombre (1967, dir. Martin Ritt): I do love a good deconstructionist western. Though the sympathy for the plight of Native Americans still stops short of giving any of them speaking roles.

The Sweet Hereafter (1997, dir. Atom Egoyan): Everything here - the setting, the characters, the score - coalesces so perfectly to tell a story about an unspeakable tragedy. 

My Night at Maud’s (1969, dir. Éric Rohmer): Either I couldn’t adopt the right perspective or I’m simply too stupid to get it lmao.

The War Game (1966, dir. Peter Watkins): What got me here more than anything were the repeated reminders that all of this has happened before. Absolutely devastating, I sure am glad the dangers of nuclear war have passed!

gagner de l'argent en vendant des formations !!

regarder cet article pour savoir comment gagner de l argent grâce a des formations : https://qr.ae/pvFQ9v

Damn now that the union I usually protest with (I quite like the Solidaires they're usually great ppl to be around) I am getting invested in the QSMP labour law violations

I hope they win over Quackity Studios, fuck exploitation and capitalism

A commencé officiellement les démarches pour commencer le permis ✌️

Email Marketing Automation Strategy – DispoSkill

What's Email Marketing?

Simply, Email Marketing may be a sort of Digital Marketing, where you collect emails from people during a specific niche.

Then you send emails to those people promoting a service, product, blog, or anything so you’ll increase your revenue & web traffic.

I will cover the subsequent topics:

Email Marketing Overview

Email Marketing System in Deep

Building Email Lists

Important Strategy

Visit: Email Marketing Automation Strategy – AllinTutorial