? 【#電影節發燒友】#布烈遜：《驢子巴特薩》、《聖女貞德的審判》、《慕雪德》 三個少女（還有一頭驢子），各自背負着悲哀的宿命。與一生勞碌兼飽受虐待的驢子巴特薩命運殊途同歸，少女Marie的一片痴心只換來悲憤與失望，最後消失於人煙；聖女貞德被囚禁肉體遭痛苦折磨，在火柱上精神卻得以解放；慕雪德獨自承受生活的重擔無怨無悔，遭遇一切不公，卻甘願自我犧牲。纖纖弱女雖然見證塵世各種苦難，但透過布烈遜言簡意賅的轉化，靈魂卻得以淨化昇華。

在7月1日的 #羅拔布烈遜 座談會，講者張偉雄和王勛談到布烈遜創作了一套獨一無二的電影語言體系，追求真實（reality）而非真實感（realism），摒棄一切劇場的元素，讓演員在非演戲狀態下呈現人物的特質，亦要求觀眾主動投入來體會人物的情感。

《#驢子巴特薩》：http://cinefan.com.hk/zh-hant/movie/au-hasard-balthazar/ 《#聖女貞德的審判》：http://cinefan.com.hk/zh-hant/movie/the-trial-of-joan-of-arc/ 《#慕雪德》：http://cinefan.com.hk/zh-hant/movie/mouchette/

? 【#CineFan】#RobertBresson: AU HASARD BALTHAZAR, THE TRIAL OF JOAN OF ARC and MOUCHETTE Three girls and a donkey, all share a doomed destiny. Rural girl Marie and her donkey Balthazar continually take abuse of all forms from the people they encounter; Joan of Arc receives rigorous interrogation and persecution from the jailers, though her faith remains unshaken; Mouchette is condemned by her surroundings, but remains silent in face of the humiliations she undergoes. Yet in Bresson's cruel world, his dispassionate minimalism paradoxically evokes a complex, deeply resonant grasp of human nature, and shows glimpses of spirituality and redemption through his sorrowful characters.

In the seminar held on 1 Jul, critics Bryan Chang and Geoffrey Wong mentioned Bresson’s insistence on going beyond surface "realism" and filming only "reality". Emphasizing "No actors. No parts. No staging", Bresson rejected all theatrical elements, insisting that his "models", devoid of facial expressions and heightened gestures, internalize the true nature of the characters, and allowing the audience to concentrate on the emotions of the real persons.

AuHasardBalthazar: http://cinefan.com.hk/movie/au-hasard-balthazar/

TheTrialOfJoanOfArc: http://cinefan.com.hk/movie/the-trial-of-joan-of-arc/

Mouchette: http://cinefan.com.hk/movie/mouchette/