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It is impossible to accurately and completely summarize a Robert Bresson film with mere words. I’m not sure a visual presentation can quite do it, either, when the most expressive of cinematic work — or the most “transcendental,” if you’re Paul Schrader — is simply there for us to experience, but this, here, is about as good as they come. Simply titled The Hands of BressonKogonoda‘s newest Criterion-anointed video essay looks at one of the central points in his oeuvre — just read the title one more time so I don’t have to say it myself — through supercut fashion.

As incongruous as Bresson and supercuts would / should normally prove, there’s the sense that it isn’t attempting to encapsulate, but to supply supple images as a means of enhancing appreciation. Formulating a proper thesis on why this was so central to his cinema is simply up to you — and, so, if you’re less-than-familiar with one of the medium’s greatest artists, here’s hoping you’ll find good reason to start here. (Or here.)

Watch the video below:

Did this examination make you wish to see more Bresson? What’s your favorite film of his?

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