A masterpiece that distils Dostoyevsky, Nietzsche and Camus into its fascinating protagonist, Robert Bresson’s 1959 Pickpocket inhabits the nihilist universe of a man, whose lack of feelings goes beyond the pathological and for whom punishment seems futile as it is desirable.
In the films of Robert Bresson, where emotions are hard to be found, facial expressions are nonexistent and the approach to acting is stripped to a minimum, the eyes of the characters become our dramatic guides. Thus, actions have to be taken at face value (!!) As the contrast between speech and body language is partially nullified, viewers ought to search inside themselves for further confirmations of what is being presented to them. Who could be better then, than a Russian master to guide the tale of the pickpocket? Continue reading