Bresson is among the most highly regarded French filmmakers of all time. Little is known of his early life. Although many writers claim that Bresson described himself as an « Christian atheist », no source ever confirmed this assertion, neither are the circumstances clear under which Bresson would have les nuits de Ceylan PDF it.
Elevée sur l’île de Ceylan, où l’air tropical embaume les épices et les parfums d’orchidée, Alexa a toujours su que, pour se sentir vivante, il fallait être libre. Et non courir les bons partis dans les bals, comme le voudrait sa tante. Aux badinages des gens du monde, aux prétendants insipides, au destin d’épouse soumise, Alexa oppose une résistance farouche. Toute lady qu’elle soit, elle compte bien prendre son destin en main, s’instruire et, plus tard, aider son père à la plantation de café qui appartient à leur famille. Mais lorsque celui-ci lui révèle le mystère qui pèse sur sa naissance, toutes les certitudes d’Alexa s’effondrent. Soudain, une seule question importe : qui est-elle vraiment ? La réponse, elle va devoir aller la chercher bien loin de chez elle. Sous le soleil de Rome, dans les palais napolitains ou dans le Londres de l’Angleterre victorienne, Alexa n’aura désormais de cesse de suivre la piste de ses origines. En prenant garde de ne pas se perdre dans les bras de Nicholas Dameron, un vicomte orgueilleux et terriblement séduisant qui, depuis la première nuit où il lui a dérobé un baiser sous la lune de Ceylan, ne cesse étrangement de croiser son chemin…
There is the feeling that God is everywhere, and the more I live, the more I see that in nature, in the country. When I see a tree, I see that God exists. I try to catch and to convey the idea that we have a soul and that the soul is in contact with God. That’s the first thing I want to get in my films. Bresson was sometimes accused of an « ivory tower existence ». This section needs additional citations for verification. Bresson’s early artistic focus was to separate the language of cinema from that of the theater, which often relies heavily upon the actor’s performance to drive the work.
With his ‘actor-model’ technique, Bresson’s actors were required to repeat multiple takes of each scene until all semblances of ‘performance’ were stripped away, leaving a stark effect that registers as both subtle and raw. There is a credibility in Bresson’s models: They are like people we meet in life, more or less opaque creatures who speak, move, and gesture Acting, on the other hand, no matter how naturalistic, actively deforms or invents by putting an overlay or filter over the person, presenting a simplification of a human being and not allowing the camera to capture the actor’s human depths. Film critic Roger Ebert wrote that Bresson’s directorial style resulted in films « of great passion: Because the actors didn’t act out the emotions, the audience could internalize them. Some feel that Bresson’s Catholic upbringing and belief system lie behind the thematic structures of most of his films.
Bresson’s films can also be understood as critiques of French society and the wider world, with each revealing the director’s sympathetic, if unsentimental, view of its victims. Bresson is often referred to as a patron saint of cinema, not only for the strong Catholic themes found throughout his oeuvre, but also for his notable contributions to the art of film. His theories about film greatly influenced other filmmakers, such as the French New Wave directors. Bresson gained a high position among Founders of the French New Wave.
In his development of auteur theory, François Truffaut lists Bresson among the few directors to whom the term « auteur » can genuinely be applied, and later names him as one of the only examples of directors who could approach even the so-called « unfilmable » scenes, using the film narrative at its disposal. The Devil Probably Berlin Film Festival Silver Bear – Special Jury Prize. Notes on Cinematography, Notes on the Cinematographer and Notes on the Cinematograph in different English editions. French by Anna Moschovakis, edited by Mylène Bresson, preface by Pascal Mérigeau.