Robert Bresson

Robert Bresson

Cast · Writer · Director

Born
September 25, 1901 · Bromont-Lamothe, France
Died
December 18, 1999

"For me, film-making is combining images and sounds of real things in an order that makes them effective. What I disapprove of is photographing things that are not real. Sets and actors are not real." Bresson's directing techniques were marked by a minimalist approach. He preferred to work with non-professional actors, whom he referred to as "models," to achieve a sense of naturalism and authenticity. This choice reflected his belief that professional actors often brought a sense of artifice to their performances. Bresson would rehearse his actors extensively and have them deliver their lines in a flat, emotionless manner to strip away any theatricality and focus on the purity of the moment. Another hallmark of Bresson’s style was his meticulous attention to sound. He often used off-screen sounds to enhance the narrative, creating a sense of space and realism that extended beyond the visual frame. His editing style was also distinctive, characterized by precise cuts and a deliberate pace that demanded the viewer’s full attention.

Robert Bresson: The Aristocrat of the Left and the Existentialist

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Mei XuefengJune 26, 2025
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Film and the Body——The Disintegration of the Soulmate Imagination

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THE DISSIDENTSJune 4, 2024
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Animal Representation in Cinema

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THE DISSIDENTSMay 27, 2024
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The Delinquents: Argentinian Filmmakers Crafting Fiction in a World of Inflation

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THE DISSIDENTSNovember 3, 2023
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Corazón salvaje y En el cielo: dos películas de amor fuera de norma

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Javier Porta FouzDecember 26, 2025
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Bresson e o sofrimento de Mouchette

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Fabiana Lima - CinemafiliaOctober 14, 2025
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Cuando el cine tira del gatillo // Nuestra fascinación por la delincuencia

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Un AlienJune 7, 2025
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Entender lo Bello que es no Entender: Un Perro Andaluz, de Luis Buñuel

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José ZendejasJune 4, 2025
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Peckinpah, Hellman, Bresson

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pecuchetApril 27, 2025
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¿Qué hora es allá? y Los 400 golpes (tercera y última parte)

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Javier Porta FouzMarch 18, 2025
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¿Qué hora es allá? y Los 400 golpes (segunda parte)

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Javier Porta FouzMarch 15, 2025
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¿Qué hora es allá? y Los 400 golpes (primera parte)

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Javier Porta FouzMarch 12, 2025
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Actores, personajes y el bressoniano

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Javier Porta FouzJanuary 22, 2025
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Lecciones de idealismo: sobre "Diario de un cura rural" (1951)

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Andi DoinelNovember 23, 2024
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Una ópera prima maestra: sobre "Ascensor para el cadalso" (1958)

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Andi DoinelNovember 20, 2024
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La modernidad en duelo: Le Pornographe (2001) de Bertrand Bonello

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Rodrigo VillagolzarriNovember 17, 2024
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Grandes debuts: Desapareció una noche de Ben Affleck

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Javier Porta FouzNovember 10, 2024
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La Venganza de “La Sumisa” para Dostoyevski y Bresson

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Juan Diego Alarcón ForeroNovember 2, 2024
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Los anillos de Alphaville: Godard, Kubrick y dos computadoras autócratas

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Daniel CasteloSeptember 20, 2024
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Star Wars y Duna: Generaciones (parte 2)

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Javier Porta FouzJune 12, 2024
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