A searing story about the circulation of a counterfeit five-hundred-franc note and the moral ruin it leaves in its wake, Robert Bresson’s thirteenth and final feature, L’argent (1983), stands as one of his most urgent spiritual testaments, eventually focusing in on a truck driver who winds up on a path to violence after passing the bill. In adapting Tolstoy’s The Forged Coupon, and transplanting its action from czarist Russia to modern-day Paris, the director continued to hone many of his signature stylistic gestures and thematic concerns, further paring down his elliptical editing and stark compositions to conduct this piercing inquiry into greed and transgression. In “L’argent,” A to Z, a video essay on our new edition of the film, scholar James Quandt goes through the alphabet, examining some of Bresson’s most enduring preoccupations through their expression in the filmmaker’s swan song. Reflection and repetition are the watchwords in the excerpt below, in which Quandt discusses the play of transparency and deception in the film’s preponderance of glass surfaces as well as the rhythm established by Bresson’s frequent rhyming of images and sounds.
Why Swing Time Is the Greatest of All Dance Films
In this excerpt from an interview on our new edition of the Astaire-Rogers classic, dance critic Brian Seibert explains how beautifully and cleverly the film integrates dance into the structure of a romantic-comedy plot.
A Moody Meditation from the Set of Blue Velvet
In a rarely seen documentary about David Lynch’s 1986 masterpiece, the director and his star, Isabella Rossellini, give their candid impressions about the creative journey they’ve embarked on together.