His simplification or in other words purification of film elements is directed to reveal cinema not as a canvas for popular and commercial moviemaking but as a unique art form that generates unique experiences. He follows his vision, intuition, and own set of rules for filmmaking: he follows his own quest as an artist of cinema. Like Tarkovsky, Bresson epitomizes the authentic artist whose self-determination brings forth unparalleled art. Andrei Tarkovsky admired Robert Bresson because they shared a similar spirit when it came to filmmaking, a passion for shedding light on cinema as an art form with its own language and manner of engaging and creating profound experiences for audiences. Working with these forms, Bresson attempts in his films not to be symbolic he tries to create a form as inexhaustible as nature, life itself.”Īll true artists fight to convey the best path of expression within their art forms. In that sense, I find him very close to the oriental artistic concept of Zen: depth within narrowly defined limits.
That is, one is compelled to consider his artistic form as life, nature itself. The third reason is the inexhaustibility of Bresson’s artistic form. Bresson is one of the few who has succeeded. Every serious artist strives for simplicity, but only a few manage to achieve it. This vision of the world is expressed in an ascetic way, almost laconic, lapidary I would say. It is the significance of his work for me-the vision of the world that it expresses. The second reason I admire Bresson is personal. Indeed, Bresson is one of the artists who has shown that cinema is an artistic discipline on the same level as the classic artistic disciplines such as poetry, literature, painting, and music. When asked about the importance of Robert Bresson, Andrei Tarkovsky answered, “There are many reasons I consider Bresson a unique phenomenon in the world of film. A Man Escaped, directed by Robert Bresson, screenplay by Robert Bresson, cinematography by Léonce-Henri Burel, and edit Raymond Lamy.
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