l'argent (bresson, 1983)

Among other wonders, there's scarcely a motion wasted in a Bresson film. Camera movements and actor movements are fixed to a process. Small processes, overarching structures. That's what people mean when they say his movies are "pared down to essentials." They don't talk about the voluptuous colors in his films, starting with Une femme douce, or the tactility of actors and objects. Bresson's use of these things: the opposite of "pared down."