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Double Face 1969
(…) This film is a film, in which the colors have a strange dark sheen, reminding you much more of old black-and-white films than color films. The camera angles are often very old-fashioned and rigid, so that original locations such as the entrance hall of an old villa look strangely like theater sets into which the characters disappear without being followed by the camera. As a result, they often act very small in a long shot where we are otherwise…
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Mouchette 1967
About 70 years ago, someone set up a camera for the first time and captured movement in consecutive images, so that he later recognized something on a screen that he had already seen through the lens: how someone turns their head, how clouds move across the sky, how blades of grass tremble, how a face shows pain or joy.
He would have understood this film by Bresson.
He would have been delighted to have made an invention that has been used in such an incredibly beautiful way.Wim Wenders (excerpt from a review published in December 1969)
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Kagemusha 1980
Kurosawa is just such a master. If ever you make a movie and you have rain or snow or anything, just don't do it before you see all of the Kurusawa's and study and read how he produced weather. And then you can go and make a movie with rain. But just don't do it without consulting Kurosawa.
Wim Wenders (excerpt from Criterions „Closet Picks“, 2024)
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Au Hasard Balthazar 1966
If you think that a film about the life of a donkey cannot be moving and take your breath away, watch AU HASARD BALTHAZAR from 1966, and think again. The film by French master Robert Bresson on the topics of violence as well as compassion is one of those films that change the way you see the world.
Wim Wenders (excerpt from an introduction published on Acontraplus in November 2023)
