An intense, austere film that--for me--pales in comparison to Dreyer. But then I'm a romantic. Still, I have to admit that deep in my soul I I suspect that Joan by Delay may be more like the real Joan than Joan by Falconetti: impressive in her very ordinariness, personally committed without the need for self-dramatization, someone for whom martyrdom is more an obligation than an apotheosis.

Few subjects could be more appropriate for Bresson's aesthetic than Joan of Arc, whose unwavering principle and faith in the face of religious persecution fits in snugly with such films as Diary of a Country Priest or Au Hasard Balthazar. Delay is excellent, stoic and dignified with just a touch of righteous anger and tragic acceptance. I'd put this right up against Dreyer's take, frankly.

Solid procedural alternative to Dreyer's masterpiece.

Never escapes the shadow of Dreyer for me. On its own it's a suitable if unimpressive work, but Delay's cool anger is much less interesting than Falconetti's frightened child of a martyr.

Amazing.

Trial makes the Bressonian method particularly apparent because of how it contrasts with other Joan of Arc movies, particularly Dreyer's rather expressionist one. As usual, Bresson sacrifices dramatic impact, authenticity, and more, in order to achieve his desired effect of "modeling" rather than enacting the story. The Joan of Arc trial stripped of almost any semblance of expression is certainly interesting to behold, but don't expect it to knock your socks off.

My favorite Bresson film, if only because it's one where his style not only works with the story but enhances it, making Joan just the right mix of stoic and vulnerable. A great performance from Delay and very good choice of shots make this a very effective look at martyrdom. The last 10 minutes are especially excellent.

convincing and truthful depiction of joan's end, a very interesting alternative to Dreyer's Passion of Joan of Arc. i still prefer dreyer's but this was also great.

Bresson's stripped-down style is in full effect here, complete with his famous close-ups of feet and attention to manual processes. The obvious comparison to make is The Passion of Joan of Arc. Dreyer's film has an undeniable beauty to it, but as a fan of Bresson's austerity, I have to give his version the edge. I greatly prefer Delay's performance to Falconetti's. Delay brings a dignity and a genuine piety to the role, where Falconetti just makes her seem like an unstable nutball.

Absolutely different from Dreyer's version. It's not emotional and melancholic, instead, Bresson drives this vehicle in a cold, impartial way.