Pickpocket (1959), Robert Bresson

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.

pickpocket-2In 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

Hidden (2005), Michael Haneke

A multi-layered parable dressed as a thriller, Michael Haneke’s 2005 Hidden, delves into the historical subconscious of the European colonizer, swims at the bottom of media manipulation, and when it comes up for air, with blood in its teeth, it does not offer any answers.

hidden-2By the end of Hidden [Caché], after Georges has been terrorized by events which climax with the suicide of an old acquaintance, he lies in his bed and envelopes himself in a blanket, almost as if trying to recapture some womb-like comfort. He lies in there but probably does not have a clue who’s made that bed. We, instead, can fathom that this feeling of angst and dread haunting him is, in fact, self-inflicted. Continue reading