hazirn 2010, yonetmenin izledigim ilk filmi & reha erdem'in ilham kaynagini tamamn bu filmde gorebiliyorum. byle bir sinema anlayisina ulasmak gercekten cok zor. bu kadr oz ve yalin ama kendini direk ele vermeyen, ruha hitap eden bir sinema dili.. dogru ki, hicbir zaman anlatamayacagiz, evinden kacmis yuk esegiyle bir sirk filinin goz goze gelisini.. filmin ilk yarisinda esegin aslinda 'ilk aski' daha sonra da 'isa' yi sembolize ettigini farkettim. son sahnesi gercekten sinemanin doruk noktasi.

Transcendent filmmaking.

"The lens of dispassion Bresson invites us to look through during Balthazar embodies "a prayer which slips into life without interrupting it." - Eric Henderson

60

A masterpiece of compassion. Like no other film you'll ever see. Bresson reveals the depths of hopelessness and tragedy, and yet there are moments of kindness and transcendence here too.

One of Bresson's best, what I loved most is seeing the mistreated Balthazar going from owner to owner, juxtaposed with Marie's own turbulent and weary life. "The world in an hour and a half" according to Godard, the film's pacing is pretty quick, but I want to rewatch it anyway, so... Bresson is wthout a doubt one of my favorite french directors, anyone who comes close these days in conveying a powerful thought provoking message is Audiard and I recommend both their films.

While I do respect this film and the director for what it has achieved in the world of cinema I feel it's a bit too steeped in religious symbolism. The basic philosophical and emotional ruminations of the film are interesting enough without relying on biblical references as a crutch.

Stunning. I need to watch this again!

Within the subdued tones that pervade both the visuals and storytelling within Au Hasard Balthazar, there is a stunningly powerful collection of human movements. The brutality of man, and the brutality of life, is revealed starkly and with astounding precision in the simplest fashion. That Bresson could engage his audience with such an incredibly in-depth subject by utilizing pure simplicity in nearly all facets of this work reveal the genius of a director with no true equal.

"I had two ideas in this film. First, to see an analogy between the different stages of the life of a donkey and the life of a human being; second, to see the donkey suffering for all human vices." -Robert Bresson

That donkey should be given some sort of acting award. The ending is incredible and perfect in every way. Godard was right about this movie.

Bresson had an unmatched ability to honestly communicate the tangled beauty and the ugliness making up the whole of life. He works in the extremes here and it makes for a moving work, though I think Mouchette is more successful in a way.

Nonsense

His style is so intriguing - I feel like the film I will unravel it self the more you see it. Every second is filled with interesting substance unfortunately the plot structure is very similar to L'Argent, which I had already seen, making Balthazar's form a bit too recognisable.

Muhtemelen en sevdigim film.

#60

Anne Wiazemsky is simply haunting here, acting or no acting.

Oh God, this is depressing. If any film can prove that audiences give a shit more about on-screen animals than humans, then this is it.

Au hasard Balthazar's paralled endurance -- or shared experience -- narrative unravels with almost breathtaking verisimilitude. Defined by an unassuming ability to see palpable profundity in even the most mundane existence (be it that of a poor, put-upon girl or the oft-victimised donkey of the title), Bresson's portrayal of existential plight would appear to breathe and bleed the elements it analyses. It's art imitating (or, rather, observing) life in the most austere, yet captivating sense.