Odelecol Pretty good movie overall. First half was nothing special but it got better as it went along.

Cooktopi The acting in this movie is really good.

Robert Joyner The plot isn't so bad, but the pace of storytelling is too slow which makes people bored. Certain moments are so obvious and unnecessary for the main plot. I would've fast-forwarded those moments if it was an online streaming. The ending looks like implying a sequel, not sure if this movie will get one

Frances Chung Through painfully honest and emotional moments, the movie becomes irresistibly relatable

chaos-rampant Among the best things that can happen to me as a viewer is to watch a filmmaker grow into mastery, and I've just gone through a series of viewing where Bresson grew before my eyes. He wasn't a master before Balthazar in my estimation but he was one now.See, he had started with ambitious work in Diary of a Priest, but something must have troubled him, the spiritual search was coming off as emotional anguish, resulting in sentimentality. His next three were all about finding ways to quell this, fasting the eye, muting the emotion. This is all the more reason to celebrate him, because it could have gone either way. He could have turned out film after film where he mutes expression and turns actors into bare stumps and called it pure. But if this was purity, where was the life in which the pure is woven through? Bresson matters I believe because he left the stone floor of his ascetic phase to grow into this, his sculpting phase.This is a sculpture of moving image and sound, even more so than Balthazar, even more purely about the rooms and spaces in which a young girl faces the duplicity of life. It's all in how he chisels the air with the camera, he does this in three parts. The day before, with its moments of small everyday cruelty and unexpected kindness alike. She has a beautiful voice but won't sing with her classmates until forced, a passing woman unexpectedly gives her money for the bumping cars, but her dalliance with a boy is cut short and she has to go sit with her father. It's heart-aching because all she needs is someone to mind her and no one does outside of making her behave how they want to, most of us have been savaged this way as kids.The night of unfathomable emotions out in the woods, and look how masterfully. Why she does what she does in the cabin, why she swears to protect his secret and professes love, perhaps intuitively protecting herself, perhaps asserting herself against authority, this is all as unfathomable as why the man goes back out to commit violence. It's all in that shot where the two men laugh, for no reason other than all this being absurd, beneath a dark sky, and the wind that blows all through the night.In the third part of the film we have the day after, with this complicated human nature brought to the stark light of what other people think. Bresson shows us judgment and cynicism, and even the old woman's advice about death is waved off; too musty for a young girl, more advice.So how poignant to see this shift in Bresson? He gives us by the end a more eloquent Jeanne D'arc, now the dogmatist interrogators become your small-minded neighbors and Joan is neither pure nor certain in any way about the truth of what she experienced. No ceremonial death. And how deep it cuts, that she may have wanted to ask her mother for advice, unburden the confusion, but has to go through it alone.So after a series of Bresson viewings, I will come to rest here. Antonioni would take home the Palm that year but Bresson had conquered his obstacles and arrived fully. The title of Tarkovsky's book best describes what he does here, and you can see the Tati influence as a new tool that he didn't have back in Pickpocket. He sculpts an external time, but now in such a way that the pure is found where it grows roots and rustles, among life.It would be Tarkovsky's turn now to shoulder this legacy, and Dreyer's, asking himself, what kind of time? We dream and yearn with an asymmetric logic and mingle with our reflection. It would be one of the great leaps in the cinema but for that we'd have to go forward.

MartinHafer Currently on IMDb, "Mouchette" has an overall rating of 7.8 and some incredibly glowing reviews. It's also from the fancy-shmancy Criterion Collection--so I expected much, much more than I saw. While many loved it, I sure thought the film was very dull and could have been much better.The film is about a young girl, Mouchette. She appears to be about 12 or perhaps 13 and her life stinks. She doesn't fit in at school and her home life is awful. Her father seems abusive and her mother is dying. To top all this off, later she gets raped. And, to wrap up all this joy, Mouchette rolls into the creeks and drowns herself. Wow...talk about an upbeat film! I noticed that some praised the film for its use of realism--with non-actors and natural surroundings. This didn't really impress me, as the Italians had been making such films for some time--and most of them were much, much more engaging. I would strongly suggest you see "Umberto D" or "The Children Are Watching Us" to see that you can make a sad story with non-actors and STILL have a film that worth seeing and has much more point to it. Sorry. I just didn't enjoy "Mouchette" nor did I see why it is a great film. It was a bit vague and confusing at the beginning and ultimately made me feel miserable and unfulfilled.

makpet Bresson one of the true architects of modern cinema found in this story the perfect distillation of form and content coupling his pared down style with the poignant story of a young french girl trying to live through impoverished circumstances and doing her best to survive. Being one of my heroes I have always had nothing but total respect for the way he intellectualized every aspect of film-making without denuding it of emotional impact. A chemist of cinematic ingenuity there will never be a more profoundly personal look at cinema than that of Bresson. May the film-makers of today at least make the effort to rob from this man. Viva Bresson!

bateauivre11 Stories of childhood have often been tempered with the melancholic yearning of lost innocence (as in Louis Malle's Au Revoir Les Enfants) or the profound weight of human misery (as in Robert Bresson's Mouchette). -An opinion in a filme web - Director Robert Bresson disliked many things like, greed, shallowness, insincerity His filmes and his characters are surrounded by indifference,INJUSTICE and cruelty.and Mouchette the intransigent anti heroine of this remarkable filme knows about that.In one scene Mouchette said something,(to the man he later assaulted her), that really strikes me: `You can trust me ... I detest them' Every great film has its unforgetable moments in this one is Mouchette's night in the woods,and later over the edge and into the water… Mouchette went through a lot of bad things,the adults in this filme are just awful,one woman tells to her `You are bad.... You have evil in your eyes.' Bresson said: `Mouchette offers evidence of misery and cruelty. She is found everywhere: wars, concentration camps, tortures, assassinations.' –That's it… the Master has spoken.