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Condamné), described by Bresson himself in conversation as the film of grace par excellence, whose subtitle Le Vent souffle où il veut (‘The wind bloweth where it listeth’) distils the spirit of Jansenism. If two of Bresson’s first three feature films – Les Anges du péché and Journal – take the religious life as their setting, that life, like the God that is its ostensible inspiration

in Robert Bresson

In 1947, Bresson went to Rome to work on a screenplay of the life of St Ignatius Loyola, founder of the Jesuits, which was never to be filmed. This renewal of his interest in the religious life bore fruit in Journal d’un curé de campagne of 1951, adapted from the celebrated novel by Georges Bernanos. Almost entirely faithful to the novel, Bresson’s film is nevertheless radically different from it

in Robert Bresson

after he had filmed Wittgenstein that viewers of Sebastiane had seen its hero only as ‘a naked, handsome man, they did not see him as a spirit’, he went on to say, ‘No character in my films is more than a spirit, Ariel, they are not flesh and blood by any imagination.’ 29 Ray Monk says of Wittgenstein that ‘in a way that is centrally important but difficult to define, he had lived a devoutly religious

in Derek Jarman

exhibitionist and womaniser (like his father, according to Theon), the latter an introvert and already a prickly Christian, easily provoked into defending the faith from Orestes’ dry humour. Both men subsequently fulfil their destinies and achieve key positions in Alexandrian political and religious life, though these transitions are elided and left unexplained. The third pretender is Davus, the ultrabrainy slave, unlike Medoro, his

in Alejandro Amenábar