After all Bresson’s films are watched, the viewer’s urge to "should not this film be changed?" "Muchette" is the more leafy "Donkey Batasar" and the more outstanding "Pickpocket". "Muchette" carries all the common elements of Bresson’s films adapted from Bernanos’ novels, but it does not prevent the film from becoming a pioneer of a surprising (but not anti-thematic) text. Although such a movie must be one-off. The human nature that you talk about all day is evil, and the tragedy of growth has never been a theme that must be chanted over and over, but just one of countless parallel propositions. "Why is the world & existence like this" also gave way to a more incomprehensible and more serious picture of the universe. It is a pity that even the greatness of Bresson can only touch the edge of this picture.
While the whereabouts of Muschett are still unknown, Bresson also offered a "suspension situation" similar to "Pickpocket", throwing out more mysteries. Similar to the prosecutor in "Pickpocket" who always refused to arrest Michel, the forest ranger Matthieu also opened up the perspective of God. From the beginning, he anticipated what would happen between Muschett and Arsene (when he explained the life and death of Mattheiu) Bresson also rarely set a bit of suspense). The veteran Bresson will never give the audience the opportunity to think about the meaning of all the plots that seem to happen, but have no real impact on the state of affairs. The first 20 minutes of the film created the illusion that Mattheiu, Arsene, and Louisa’s love triangle would be entangled with the Muschett family. This illusion is not cumbersome. On the contrary, it is deliberately designed to elicit a certain Bresson’s belief that it is superior to the narrative. The inevitability of self-denial, when such self-denial is extended to the plot, it becomes Muchet’s step-by-step self-hatred.
When Matthieu asked Muschett to enter the house, Muschett turned his back to him to show obedience. Mushait was never a Batassar who was slaughtered by others. She was not possessed by the devil. It is more likely that she possessed the town, and everyone who encountered her infected her bad luck. Did Muschet commit suicide? Could it be that the two rabbits that died tragically under the shotguns stretched out in countless directions must be a metaphor for the ending of Muchet's soul escape across the film? If this is the case, then the imaged abstract evil has achieved the most bizarre redemption in art history. Muschett’s sin is that she still hasn’t given up on humanity. Although she has given up on language, she still hasn’t given up on the instincts of using eyes and physical strength to express emotions that she shouldn’t touch in this world. There is no way to classify these emotions and it is impossible to define them. They are expelled again and again by human reason and ancient religions until they disappear into filth and chaos. Muschett died before anyone else.
First-rate directors fake narratives, while Bresson fakes emotions. Gundam has perfected Bresson’s film skills to a level that no one can touch so far, but he is far-reaching spiritually from Bresson. This must be the eternal regret of his career, and also explains why he appreciates Abbas so much. Kiarostami.
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