Mouchette

1967

Drama

82
Rotten Tomatoes Critics - Certified Fresh 88%
Rotten Tomatoes Audience - Upright 87%
IMDb Rating 7.8 10 10,169

Synopsis


Downloaded times
January 12, 2021

Director

Cast

720p.BLU 1080p.BLU
751.5 MB
1280*720
French 2.0
NR
23.976 fps
81 min
P/S N/A / N/A
1.36 GB
1920×1080
French 2.0
NR
23.976 fps
81 min
P/S N/A / N/A

Movie Reviews

Reviewed by marcosaguado 10 / 10 / 10

The Face of Nadine Nortier

Just like I remembered. The face of Nadine Nortier has not changed. The unbelievable "Mouchette" in this unforgettable Robert Bresson masterpiece. I hadn't seen the film since I was a teen ager. I saw it again last night and as if by magic it felt more contemporary today than it did then and then, let me tell you, it felt pretty real in its own rigorous lyrical style. What a shockingly wonderful effect a film like this could have on teen agers today. To stay with a character who takes us with nothing more than her naked truth through a landscape of absolute desolation. Her innocence intact, in spite of the outrage. Her ultimate act as breathtaking as anything we have ever seen on the screen, before or since. I tried to show the film to a group of twentysomethings, all of them walked away within the first fifteen minutes. All except one, a boy of 21, he had escaped Bosnia with his brother a few short years ago. As the film ended I looked at him. He was silent. He spoke without looking at me "can I see it again?" That's at the center of the experience that provides this film. "Mouchette" is meant for everyone, but it'll touch only some.

Reviewed by B Benton-2 9 / 10 / 10

A genius at his most beautiful

Never before has cinema been this simple and honest. No one makes films with more emotion than Bresson and no one puts less emotion in their films than he. I could cite so many Bressonian cliches and talk of his uniquely personal style which by 1967 was firmly established, especially since he had abandoned the voice-over he used in the 50s. I will point out his use of sound and approach to acting which remain so distinctive and by now so familiar. There is nothing in Mouchette that is new, especially after Balthazar, what remains is the story of Mouchette, told with the utter grace and passion that makes this film a masterpiece that transcends technique, even cinema itself, and makes most cinema look frivolous in the process. Finally I must mention the films ending, which I rank with that of Balthazar as the most beautiful I have seen.

Reviewed by dbdumonteil 9 / 10 / 10

Mouchette got a raw deal

Sixteen years after having successfully exploited Georges Bernanos' universe for his "Journal d'Un Curé De Campagne" (1951), Robert Bresson appropriates once again another book by the French writer: "Mouchette" for a very personal, stylish rendering and a canonical film about stolen childhood. The filmmaker always supported that he'd prefer a film to be felt rather than to be understood. Needless to say we leave the projection with a big emotion inside us and we also feel helpless about Mouchette' terrible life. According to Bresson, Mouchette's tragic fate enabled him to put forward "misery, cruelty. They're everywhere: wars, tortures, murders". The film starts with Arsène's and the gamekeeper's eyes staring at quails and partridges that desperately try to free themselves from snares. This harrowing introduction sequence sets the scene for what follows after wards. How not to think of a metaphor for Mouchette's life that offers her no horizon and no hope? This teenage girl is all alone and in spite of her young age, she has to take care of her sick mother, her alcoholic father and her baby brother. She goes to school but feels rejected by her female fellow students, notably when school's over, they stone her. It's the same thing every day and Mouchette is trapped in her loneliness. That's why the sequence at the fair comes as a sort of relief for her. The scene at the bumper cars provides her momentary solace and joy. Then, the key sequence with Arsène will make her open her eyes about what she really wants. In spite of her poverty and solitude, Mouchette needs to love but where to find it in a hostile world? Mouchette strongly belongs to the Bressonian world. She's an outcast and she can't integrate herself to her surrounding. Once again, Bresson underscores the opposition between a pure, subjective person and an objective, hostile world in a sparse, minimal directing with a supremacy granted to images and sounds and the evident symbols they convey. An eloquent example would be when the little girl is all alone in the country and can hear the sound of guns and can see rabbits running or dying. She hasn't got a friend or even one member of her family to talk to. When she wants to tell her mother what Arsène did to her, she dies. Fate dogs her. There's no room for the weak and there's one last exit left... Bresson's austere, intensely visual making fits the story and its themes like a glove and if you don't feel anything during the last sequence, you have a heart of stone.

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