This great film, made with uncompromising honesty and devastating reality, is, according to Jean-Luc Godard, 'the world in an hour and a half.'
Au Hasard Balthazar (1966)
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Reviews Counted:28
Fresh:28
Rotten:0
Average Rating:9.1/10
Synopsis: Often praised as one of the greatest films ever made, but long unavailable in the United States, AU HASARD BALTHAZAR is suffused with the same religious imagery and themes that mark much of... Often praised as one of the greatest films ever made, but long unavailable in the United States, AU HASARD BALTHAZAR is suffused with the same religious imagery and themes that mark much of director Robert Bresson's films. Like his masterpiece DIARY OF A COUNTRY PRIEST, Bresson's AU HASARD BALTHAZAR combines religious allegory with a naturalistic, austere, and minimalist aesthetic style that matches his ascetic themes. The film tells the story of Marie, an unlucky farm girl, and her beloved donkey Balthazar. As Marie grows up, the pair become separated, but the film traces both their fates as they continue to live a parallel existence. Marie and Balthazar become martyrs, eventually taking the sins of others upon their own heads and finding transcendence in the process. AU HASARD BALTHAZAR is like Bresson's other works in that it seamlessly combines the naturalistic and the spiritual. [More]
Starring: Anne Wiazemsky, Philippe Asselin
Starring: Anne Wiazemsky, Philippe Asselin
Director: Robert Bresson
Director: Robert Bresson
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Reviews for Au Hasard Balthazar
This is what makes Au Hasard Balthazar so powerful, and yet so distant. It asks as much of its audience as it does of its characters...
Perhaps the greatest and most revolutionary of Bresson's films, Balthazar is a difficult but transcendently rewarding experience, never to be missed.
If you can see past the heavy-handed religious overtones you will encounter an inspired and deeply intelligent Bresson classic.
Robert Bresson's aesthetic of realist, material sounds and images assembled in paradoxical ways virtually defines the cinematic parable...
The lens of dispassion Bresson invites us to look through during Balthazar embodies "a prayer which slips into life without interrupting it."
The film is perhaps the director's most perfectly realised, and certainly his most moving.
The supreme masterpiece by one of the greatest of 20th-century filmmakers.
likely as lost on today's audience as the saintly donkey that bears man's burdens on his back only to be beaten, neglected and, finally, rejected.
Each scene emerges as a minor miracle. Which makes the sum total an object of extraordinary glory.
...has the transcendent beauty of a Renaissance painting and the inspiring fire of a sermon.
The most modern equivalent of [Balthazar's] final scene may be the ending of Lars von Trier's "Breaking the Waves."
A deft, impassioned, and wrenching film, but also — emphatically, absurdly — a film about a donkey. Indeed, it hardly pretends to be much more.
Bresson is one of the few directors for whom cinema was both an aesthetic and spiritual pursuit, a search that was reflected in films for which the words 'sublime,' 'transcendent' and 'masterpiece' can seem somehow lacking.
This is an amazing allegorical study of the life and death of a donkey named Balthazar.
It is a devastating picture, scored to a Schubert piano sonata and done with a purity and austerity that transfixes us.
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