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rulle escribió:Au hasard Balthazar (1966) Robert Bresson
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imdb (8.3/10)

Godard’s famous claim that Au hasard Balthazar is “the world in an hour and a half” suggests how dense, how immense Bresson’s brief, elliptical tale about the life and death of a donkey is. The film’s steady accumulation of incident, characters, mystery, and social detail, its implicative use of sound, offscreen space, and editing, have the miraculous effect of turning the director’s vaunted austerity into endless plenitude, which is perhaps the central paradox of Bresson’s cinema. So concentrated and oblique is Balthazar, it achieves the density, to extend Godard’s metaphor just a little, of an imploded nova.

Bresson’s twin masterpieces of the mid-sixties, Au hasard Balthazar and Mouchette—his last films in black and white—are rural dramas in which the eponymous innocents, a donkey and a girl, suffer a series of assaults and mortifications and then die. With their exquisite renderings of pain and abasement, the films are compendiums of cruelty, whose endings have commonly been interpreted as moments of transfiguration, indicating absolution for a humanity that has been emphatically shown to be not merely fallen but vile. Both “protagonists” expire in nature, one on a hillside, the other in a pond, their deaths accompanied by music of great sublimity: a fragment of Schubert’s Piano Sonata no. 20 and a passage from Monteverdi’s Vespers, respectively. (That these contravene Bresson’s own edict against the use of music as “accompaniment, support, or reinforcement” is significant; he later regretted the rather sentimental employment of the Schubert in Balthazar, and the film without it would be significantly bleaker in effect.) The representation of both deaths is ambiguous. The sacred music in Mouchette (Monteverdi’s “Magnificat,” with its intimations of the Annunciation), Mouchette’s three attempts to “fall” before succeeding, and the held image of the bubbles on the water that has received her body imply to many a divine, even ecstatic deliverance (and a perhaps heretical consecration of suicide). Similarly, Balthazar’s death, accompanied by the secular, albeit exalted, Schubert, as he is surrounded by sheep, suggests to several critics a glorious return to the eternal, a revelation of the divine.

File
File Name            : au.hasard.balthazar.1966.dvdrip.xvid.ac3-rulle.avi
File Size            : 1,555,660,800
Duration             : 01:35:28

Container
Interleave (in ms)   : 96
Preload (in ms)      : 96
Audio alignment      : Split

Video
Codec                : XviD
Bit rate             : 1971 Kbps
Width                : 720
Height               : 432
Aspect ratio         : 1.667
Frame rate           : 23.976 fps
(Pixel*Frame)        : 0.264

Audio
Codec                : AC3
Info                 : Dolby AC3
Bit rate             : 192 Kbps
Bit rate mode        : CBR
Channel(s)           : 1 channel
Sampling rate        : 48 KHz

No B-VOP, QPel, GMC or CQM

au.hasard.balthazar.1966.dvdrip.xvid.ac3-rulle.avi

English subtitles:
au.hasard.balthazar.1966.dvdrip.xvid.ac3-rulle.7z



EXTRA:
“Un metteur en ordre: Robert Bresson,” a 1966 French television show about the film, featuring Bresson, Jean-Luc Godard, Louis Malle, and members of Balthazar’s cast and crew

un.metteur.en.ordre-robert.bresson(TV.1966).avi

English subs:
un.metteur.en.ordre-robert.bresson(TV.1966).7z

Yo mismo escribió:¿Nadie se anima con la traducción de "un metteur en ordre-Robert Bresson"? :pucheritos:

Lo de que adapta Platero y yo es un buen chiste...

Capra escribió: como hay más implicados, no sé si postearlos y subirlos a titles...

Capra escribió:Sinceramente, veo difícil entender esta peli con los subs actuales en español.